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Theses & Dissertations Dissertations and Theses (pre-1964)

1957

The Mikrokosmos of Bela Bartok;

description and analysis of the
problems encountered in form,
rhythm, harmony, melody and
expressive elements. Its use in
teaching.

Horan, Annunciata, Mother

Boston University

http://hdl.handle.net/2144/6387
Boston University
 ~

BOSTON UNIVERSITY

GRADUATE .SCHOOL .

DOCUMENT
\.

; HE MIKROKOSMOS oF BELA BARrox/ . .

Description and analysis of the problems enco'llntered ;ln
form, rhythm,harmoey, melody and expressive elements.
Its use in teaching .

. MJTHER AIDHJIIATA ~ORAN, o.s.u . .

(M.Mus., American Conservatory, 1943)

Subrrdtted in partial fulfillment of .the

requirements for the degree of

Doctor of Musical Arts

1957

BOSTON UNfV~RSITV
SCHOOL OF FINE AND APPLIED ARTS
UBRARY

Boston University
College of Music
library

'-
 .D''

'
. I

/tpproved .

v._ / .. , .
First Reader 1.~7f~..f.1. .......
Professor ot

Second Reader !f.~!.~.w.:~~

Professor of'
~: ,~]
' .
,,'
;

. . l
~ ;

A photostat of the manuscript for No. 87 1 Volume III. WVARIATIONS" .

I .
shows the care with which Bartok marked all phrasings, fingering, am

other markings.

Boston University
College of Music
Library
 - ..

TABLE OF CONTENTS

cHAPTER PAGE

INTROOOCTION ~ 1
I. ANAIXSIS OF VOLUME I . ~ 1
II. ANAIESIS OF VOLUME II 1h
III, ANAUSIS OF VOWME III 37.

CONCLUSION 81

BIBLIOGRAFHY 84

 .J.

IN'ffiODUCTION

One of the unique works for the piano, written between the

years of 1928 and 1937 and published in 1940, is that of the late
, , . .

Hungarian composer, Bela Bartok (1881-1945). This unusual comj>o-

sition, Mikrokosmos, is a series of 153 progressive studies, arranged

from the very easiest of .melodies to compositions of great technical

. . .

and musical difficulty. Many teachers have found the Ydkrokosmos

to be a source of inspiration. It has opened to them an4 .their

students a new cosnios, that of the twentieth century musical world;

to others, the Mikrokosmos represents a vast reservoir .or _techni.Cal

and musical problems which aids pupils to achieve mastery of the

instrument. But there is yet

.
another
. . .group,
. who,
. because
.
of the .
. .

strangeness of the harmonic idiom and because they are .unacquainted

/ , .

with Bartok s style, ha~e difficulty in . the _ inte~~nt and sympa-

thetic use of the Mikrokosmos.
. . I
One might reasonably wonder why . a composer of Bartok s stature

. would be interested in writing such a wqrk as the Mikrokosinos. . His .

background eminently fitted him for such a work. His years spent

in the teaching of piano- his principal means of .livelihood ~and

his previous works composed for beginning students, provided bm
with first hand knowledge of the problems . whlch beset the pupil and

with their technical and musical solutions. Along with this, Bartok _

{
.. : ,
 ii

was an experienced professional pianist and knew. from his own personal

experiences, the pianistic difficulties to be encountered in the

':'_, "--
.

playing of contemporary music.

I
When Bartok's second sen, Peter, showed an interest in the ke,y-

board, the idea of the Mikrokosmos was born. '

Bartok's .
acquaintance

with the existing teaching material of real musical value, suitable

. for the beginning student, assured him that there was little o:f it

and what there was, was not arranged in progressive order. Further-

more, since the turn of the centur.y., the harmonic and melodic language

of the composers had been essential~~ different from that used by the

composers of the earlier periods and posed problems of technique and

musicianship not encountered before. Because of this, it was evident

. .

to BartOk that there was a real need for a series of graded compositions

which would prepare the student, the future performer or listener, both

technically and musically, to understand and accept the contempor817

musical art. In addition, he wanted to present these problans in a

well organized way

. The first two volumes were written for and dedicated to Peter

Bartok. Peter's liking for the piano soon faded, but by that time,

Bartok was intensely interested in the work and he completed t.he

series of 153 compositions in four more volumes.

 There has been much written about Bartok and his works. one
book and several articles have been published exclusive~ on the

subject of the Mikrokosmos. Some authors, ~ch as Ameringerl,

Bull2, Mason3, Stevens4, and Ma.s simo5 1 give a general description

. and appreciation of the work, while .others J su~h as .Uhde6 J . Engel.Jriann7,
- - -
and Wolfr8 1 also include a detailed a~ais of some of the composi-

tions. There is, at present, no published work in which each

composition has been treated individu.a~.

-------------------------------~---------------------------------------

1. Silvia Ameringer, "Teaching with Bartok's Mikrokosmos,n Tempo,

21: 31-35, Autmnn, 19.51. . . _ -

2. Storm Bul.l, 11 Bartbk s Teaching Pieces", Repert-orie, 1: 1-5,

October, 19.51.

3. Colin Mason, "Bela Bartok's Mikrokosmos", The Music Teacher and

Piano s:.udent, 24: 32-37, February, 1940. - - -

4. Halsey Stevens, The Lif'e and Music of B~la Bar't6k . (New Yorkz
Oxford University Press, 1953)"';" P n9. ..
5. Mila Massimo, "Bela BartOk e il sui Y.d.krokosmosn, Diapason., .
gen. PP 2~, 19.50. . .

6. Ji.irgen Uhde:, Bart6k s }iikrokosmos, Spielan weisungen und

Erlauterungen (Regensburg: Gustave BOsee Verlag, 19;4}.
/.
,.-'.

7. Hans Ulrich Englemann, _11 Chromatische Ausstufung in Bela .

BartOk's Mikrokosmos", Melos, 20: 183-1411 Mai1 1951.
' . I -
8. H. c. YloU:f, "Der Mikrokosmos von Bela Bartok", Musica,
21: 134-140, Marz, 1951. _.
 This paper is being written in the hope that it 'Will .be of use

as a guide or help to those teachers who feel the need of making their

use of the Mikrokosmos more i'rl.litful. Thi.s stud;y will be confined

to Volume I, II, and III, "Which are fundamental and basic in their

approach. Volumes IV, V, and VI are an enlargement of these princi-

ples. In this study, W~;j shall hope to see how the Mikrokosmos 1 as .. ,
' .
its name implies, presents in an orderly way' the countless technical
-~ . .

and musical questions which beset the growing pianist in the universe

of music. ...
 1

) .

CHAPI'ER I

In his remarks in the preface

. .
of Volume I, Bart6k asserts .t hat

these pieces were written for the use of beginners -both c~en

and adults. He hoped to present and to solve all the technicSl

. .
.. .

and musical problems that are usually ~:oocnmtered in

.
the first '~o
.
'
~".:. . :~.:/' . .
or three years of study. Bartok also points out that these volmbeW

differ from the 'Piano Method as such because there is very meager

provision of material for either technical or theoretical instruction.

His assumption is that "every teacher knows what is required in this

. .

resp&,::t and is able .to give the earliest instruction without reference

to book or method" .1
By glancing at the first page of the Mikrokosmos 1 Volume I,

it is at once eVident that Bartbk has assumed that the student will
have had some preliminary keyboard work before studying the first

piece. It would seem sufficient if the . student had had playing

. .
.

ex- .

perience involviilg all regions of the keyboard, some note reading,

and perhaps even some scale work.

The first examples are called "SIX UNISON MEIDDIES" From

-----------------------------~----------------------------------~----
. .

1. Bela BartOk, MIKROKOSIDS (New York; Boosey and Hawkes_, 1940) 1 1, 3.

 2

the first., both clef's are presented and the student is eJCPected to

play hams together. The entire book is written in the five finger

positions. . BartOk gives o~ the fingering for the first notes.

The hazard of learning to read notes b,y finger numbers is eliminated.

In Study No. 1 the problem consists of the learning and plB.ying ot

half and whole notes and the two phrases are separated b,y a half'

rest. Study No. 2 uses the same five note range., but the neil lesson .

consists of the addition of quarter notes and the problem of phrasing

rlthout the aid of the half rest between. No. 2a is an exact in-

version of No. 2, but now the five finger position starts on the note A.

Study No. 3 starts at the top of the five finger position on D.

Here there are four phrases of three measures each. This is BartOk s

manner of teaching the student that phrases may have three., four., or

even five measures.

No. 4 is urru.sual only because the piece ends on the note C, but

starts on the leading tone B. The student. will not be surprised

i f a composition does not begin on the tonic or dominant.

No. 5 continues along in unison, as . did the previous ones, but nov

there are phrases of two and three measures. It is evident that

B~tOk will not have the student think that phrases must be "square"

It is his wey of saying: "The length of a phrase really depends on

what one has to sayw.

 3

; .

A quarter rest is used for the first time in study No. 6. In

the first six studies the student has learned ail notes on the two

staves except the three notes bet-rieen: B, middle C, and D.

. I
One -o f the very unusual aspects of Bartok's methods is the

practice of 'Writing at the end of each exercise the amount o time .

I . . . . .

it should take to play it~ Bartok allows 2- seconds playing time .

for pieces of B measures and 30 seconds playing time for pieces ot

12 measures. Because the same note values are used throughout the

first group, it appears that Bartok is trying to stabilize the child's

sense of. rhythm.

It certain]y must .have been BartOk's intention that scales would

be taught along with these lessons, for he recommends in his preface

that the easier pieces should be transposed into other keys~ 1 . The

best time to teach transposition is in the very early stages of ke.y-

board experience - not later when the music has become teChnica~

advanced
. Study No. 7, in the Phrygi~, mode, presents dotted half riotes

. The phrase strUcture is the alte1-nation of fol.U" measl.U"es with three

measures. The second phrase is a compression of the melodic pattern

of the first, and the third phrase is an inversion of the first .

------------------------------------------~------------
1. . Ibid. ..--------------
 This study and the two to follow are written for hand posi tiona o;ne

octave apart, while the previous six were two octaves apart.

In Bart6k 1 s mind; the placing of the F sharp on the first space

in the treble clef instead of the traditional manner on the fifth

line, made it easier to see and easier to read. While we will

. . . . .

meet ~~is placing of signatUres in unaccustomed and untraditional

places more and more, the firstinstance occurs in Study No. 81

"REPETITION". As the title infers, the problem is that of repeated

notes; to this is added the use of the quarter and half rests in

the same measure. This is in the Dorian modej as was _No. J

. (' ".. . - - ; -- -

As the name . suggests, "SYNCOPATION" (No. 9) not o~ intro-

duces the tied note but also the suspension. In his instructional

notes Bartok advises that the student tap his foot on the floor at

the suspended beat so th~t the rhythmic impulse will be felt.l

-----------------------------------------------~----------~-----------
1. I~id. 1 P 29.
 ,. ' ;

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- --- -- ....:..-="""'--

"\-1I'ffi ALTERNATE HANDS"(No. 10) is B:n example of exact imi-

tation in the octave at the time interval of three measures.

This is the first use of the ternary . rhythm and also of the un-

usual signature of one flat, A flat.

.._- - .. -
T

I T
l li
I
I
I
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In "PARALLEL M)TION" (No. ll) the unison melody is abandoned

and the use of parallel tenths is introduced. Parallel cnnstruction

of phras.gs also occurs. This is in the Mixozy-dian mode.

 ~ ~ ... . ~. 6.
. . . .
..
"
~ .

,
BartOk has chosen an especially suitable name for the stuqy No. 12.

It is called "REFLECTION" and is an exar.tple of mirror counterpoint.

This device cal! be understood by any child i f it 'is compared to a

castle standing on the bank of a lake and in .which its inverted image

will be seen on a clear day. There is also a change of meter from

2/2 to 3/2 rhythm and now the child has his first taste of real

dissonance in the intervals of major seconds, augmented fourths, and

of miitor sevenths.

Bartok's titles of his various little pieces are certainly more

of an explanation of the problem involved rather than ari appeal to

the imagination. His "CHAIDE OF FOSITION" (No. 13), uses two five

finger positions in the same piece Moreover., there is a trace of

the folksong in this little composition. It is found not o~ in the

curve ~f the melody, but also in the exact repetition of the first

phrase a fift.~ higher - one of the ear marks of some of the Hungarian

folksongs.

"QUESTION AND ANSWER" (No 14) illustrates its name both with

appropriate words (in three languages) and melodic curve. The entire

range of the Dorian mode is used in two different positions. The

second phrase is an inversion of the first and the fourth phrase

I . . . .
is an inversion or the third. BartOk suggests that the student~

or a group of students., try singing the melody before playing it.



As will be noticed in the folk songs used in later volumes of the

Mikrokosmos, the texts are always in Hungarian, English and French.

Comparing the translations, the English and French

.
would seem to be .

a little awkward. As would be expect~, the Hungarian is natural~

the more fluent and melodious. "QUESTION AND ANSWER" is excellent

material for transposition. La~er on, at the end of Volume II 1 this

same melody will be . used in a much more advanced setting.

"VILLAGE SONG" (No. 15) is written in the Mixolydian mode on D.

There are four different five note posi tiona. . This cornposi tion, in .

melody and structure, shows a strong folk song feeling. Its fonn.

consists of phrase A1 three measures in length, foll~1ed by an exact

repetition a flfth higher, phrase A5. Phrase B conaists of a two

measure section in an ascending melodic pattern (cont1asting to the

t'iio previous descending phrases) and then repeated a fifth lower~ A

return of the first phrase, A, completes the structure.

"PARALLEL MOTION A~ID CHANGE OF POSITION" (No. 16) is the

second example of the melody in tenths. The use of parallel sixths

, . .
adds new interest. . Bartok's fondness for variety in phrase lengths

is seen in this study. A consideration of the phrase groups - five

. .

measures plus three, four plus three, and four plus three~ show the

careful planning of structure. The third measure from the end is

interesting rhythmic~. - -- -- -- -- - - - --- -

"CONTRARY MOTION" (No. 17) -us.es- the.-Same lllelo~ as No. 13 1 but

Bartok gives variety by constructing the bass line in contrar,y motion.

The effect of the climax in the melodic _line is heightened by th~

 8
. '

uoe of a new dissonance, the minor second. The finger positions for ,
(.!_.,.

the left hand are difficult.

~
tl ~
UJ

..
--
... - -
~

"" . I.
I

',.

, __ "'
;':-"

I- - - - - - - -..
......
-- ~ -
- ----
__..
__ l _,..
"' W:

While the "FOUR UNISON NEIODIES" (Nos. 18-21) are used primariJ

as a vehicle to teach the melodic leaps of a third, fourth 1 .and a

fifth, the whole rest and the accent marks also are introduced.

The next two studies make use of imitation. In "IMITATION AND

COUNTERPOINT" (No. 22) the uppe~ voice follows the lower at the
. . .
interval of a sixth after one measure. In the first measure occurs .

the first dynamic sign - "i'" 1 forte... The second study is called

"IMITATION AND INVmSIOW' (No. 23) 1 but the inversion is really a

change of voice: that is, the upper voice in the first phrase becomes

the lower voice in the second phrase and vice versa.

"PASTORALE" (No. 24) is llritten in the transposed Iiydian mode,

using three sharps (in their accustomed places), and is desig.Oed to

give practice in melody playing and independence of the . hands. The

form is ternacy. The f'irst measure .has the first p - piano..
 9

"IMITATION AND INVmSION" (No. 25) has three new points to be

learned: the "sF" - sforzando mark, the repeat marks, and fina~

the signature of one sharp, C sharp. . This stud;y in the Dorian

mode shows an expansion of form and has a lovely melodic line using

canon at the octave after one measure. The sfo:rz~mdo marks at the

end of' each phrase add a hmnorous element. The device of imitation

is apparent, but the inversion is not clear.

. . . . . .

"REPETITION" (No. 26) is written in Mixolydian mode on A~

It is a stud;y involving a very . dissonant canon at the fourth below,

repeated notes, and sane tricky phrasing.

----:Ill
ll~
TL. .. ,
'
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r:j;, ,~ !1.

\) t)

f
"- - ,..., - ...... ~- ,..., ._ I

t
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I I I I I
I

"SYNCOPATION" (No. 27), met previously in study No. 91 has now a~

contrapuntal bass part which gives to the suspension the feeling of

tenseness and resolution which the ear has a right to e~ect. The
 10
. . .

tied whole note is introduced at this point.

"CANON AT THE OCTAVE" (No. 28)., as its title implies., is real.l7

'
canon at t.he octave., . and uses the. melody of No. 7. It is written in the

Phrygian mode and is S. study in the dotted half note rbthm.

"OOTATION AND REFI.ElJTION 11 (No. 29) appears to be bi-modal; the

. .

lower voice uses the upper .part of the Phrygi~ . mode BI . c.., DI E and

the upper voice uses either the first five notes of the Lydian mode

on E., or the pentatonic of 11: major~ The "reflection" is not an

exact one.

"CANON AT THE IDrJER FIFI'H" (No. 30)., is usually termed caru>n of

the fourth., because it starts a fourth below. This smooth little

piece in Mixolydian mode gives excellent practice in phrasing. "LITTIE

DANCE IN Cft.NON FORM" (No. 31) introduces the accent marks and the second

tempo marking ~ Allegro. Moderato had been used in the previous

example.

-~~-~-~- ----- --- .. ---- -- - - - --

Allegro, .J = tao I
fl J
!

81
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~~- -y ~---
::;::...
....__
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;::. ;::::.... .>
J
' I. I I I I

!_ __ ____
 ll

"lli DJRIAN IDDE" (No. 32) and "SLOVl. DANCE" (No. 3.3) present several

elements of contrast. The first is written in 3/2 measure and is -

marked "piano" 1 legato and lento. It is in the pure Dorian mode, and

has a lovely, serene, flowing type of melody, ending with a major triad,

the only harmonic -triad in Volume I. (Other studies have ended either

on the octave or the open fifth). The second piece is written in a

6i4 measure, marked mezzoforte, legato and Andante. It is _bi-modal,

- using the Aeolian JOOde _above and the ~dian on G below. The bass is

not only an ostinato type, but it is also a_ very "obstinate type

rude]y insisting on its protege C#, in opposition to the mild C natural -

of the upper voice. In 11 SIOvl DM;cE" the student is e:xpected to be able

to control three qynamics (p, mf, f) and also a crescendo at the

cadence.

"lli PHRYGIAN IDDE" (No-. 34) there is a neW tempo mBrkinga -

Calmo. Here again is practice for tonal variety. - The itCHORALE" (No. 35) -
 : l.2
.,
. .

is in the key of C major and the tempo marking is Largamente. In

free canon style 1 this little composition is a dignified conception

of the .C horale in two part writing. .

The last piece in Volume I, "FREE CANON", has a suppleness and

freedom of melodic line which shorTS the influence of the . folk-song.

The tempo marking is Teneramente and the mode is -the Aeolian with a

fusion of the lowered and raised B.

Bartok has not included any material for the ~se of the pedal

in his exercises of the appendix. The practice for correct pedalling

should be begun early. It is suggested that while tile student con-

tinues 'With Volume II, or even earlier 1 the studies in Volume l {at
least those better suited for that purpose) should be reviewed as a
means of teaching the legato pedal. Not .only the right foot 1 but also

the left foot should be "educated" in pedal usage. A suggestion follows

below.
r -- -4111H
.--- ------- -- ----

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' ~;_
t...,....-
- --........ _,------ n

0
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0 X
--
b X OX-oX 6
-
X bx 0
----
oxo

--- ------------------
It might be well to pause and draw together the threads of discussion

on the first volume of the Mikrokosmos and to consider the material

 13

that has been presented. The student has encountered and :mastered,

let us hope, such rhythmic note values as wholes, dotted halves,

hal'7es and quarters. He has played with both hands, not o~ . in

unison, but .in various motions. He has had first hand experience with

such contrapuntal deVices as imitation, inversion, canon at various

intervals, and also syncopation. His scale knowledge has not been

restricted to the major and minor ~odes, but he has also been e:xposed .

to several ecclesiastical modes. . While the entire writiilg has been

two part, the pupil has had his first taste of dissonance in mild

and harmless doses. He has had experience in transposition. . He

should have .a clear concept. of the terms governing dynamics and tempi; in .

fact, he should be well along the road leading to an artistic musician-

ship. . He has been forced to use his mind and to be alert. Bartok
. .
has not "talked down" to the student; he has treated him with all the

respect due to a Thusician-in-the-IDaking.

.- - __ ,_ ---
 14

CHAPTER II

. .

Volume II of the Mikrokosmos represents a progressive challenge

to the young pianist. It not only presents completeJ.y new techni-

cal problems but also demands a growth in intelligent musicianship

as well. This development involves more irrlependence of hands, -

touches, phrasing and dynamics. With but few exceptions, the

studies are still in two part texture, and in five finger positionS.

In the study, "IN IXDIAN IDDE" (No. 37) 1 Bartok gives the scale

a name, but the student unknowingly has encountered it in VollD1le I.

Written in canon of the octave this little composition shows the

plasticity and the variety of melodic strUcture that can be constructed

with but five notes and not one change in register. The modal domi-

nant, c, is clearly kept before us in portato touch. .It is also

the center of each melodic phrase and is used as the final note.

Nos. 38 and 39 1 both called n STACCATO AND LEGATO" 1 are the first

presentations of those two touches. The first starts off well,

the two voices working s:imultaneousJ.y in motion and touch, but the

student is not allowed to get by too easilY. At the very end -

there is a little problem o phrasing. No. 39 presents staccato arid

legato touches diametrically opposed to each other. Phrasing is also

a problem but with the use of repeated notes, it is simplified.

 . . . '.

. . [Uaeo.l
-~- ---- --~------ .,.. .. . . . ..

!.
fJ - t ~?

I ~~
., i J

- ...__
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- ~. - -....: r -tl!!t - --........ ,.,. - ..........
;
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-- ---:---- --~:.....:;... ....... .

Three examples of the melody with accompaniment now follow

. "IN YUGOSLAV >DE" (No. 40) has a strong folk-song fiavor. In

Mixo~dian Mode and in 2/4 meter, its melody is a lilting song,

over a rustic accompaniment in organ point style using b}lt two
....
notes, and always the interval of a fifth the final and the

dominant of the mode. For the sake of variety and form, the .

first section is repeated "La seconda volta p" after the statement

in f'orte. A brief' section at measure l.O f'eaturea the upper per-t

of the mode and gives a change of tonal color. A variation of

the first section then follows using three changes in qy~uics.

 .
, 16

The color of this piece can be heightened by the discreet use of the

damper pedal1 and the repeat of the first section furnishes excellent

opportunity for the first use of the soft pedal.

The happy allegretto of "IN YUGOSLAV M;:>DE" is contrasted by the

adagio of the next composi tion 1 11 MEIDD'I WITH ACCOMPANIMENT" {No. 41)

in 6/8 meter. In the cydian mod!;! using a lowered seventh 1 the

left hand weaves i.n a broken chord figuration a mysterious back- .

ground over which is spun the web of a quiet1 silvery melody. There

is a change of meter in measure in 10 in preparation of the cadence.

Opportunities for both hands to enter on the unaccented beat occur

and a new rhythmic pattern is used in measure three. To give this

lovely melody an expressive and free treatment over the soft and

even rotation of the accompar~ent is the problem here.

"AN ACCOHPANIMENT IN BROKEN TRIADS" (No. 42) is of a sturdier 1

stronger mood. In the A tonality, and of squarish structure am

. .

meter (4/4), this. calm1 dignified meloqy appears first in the upper

voice b~t in a lower register reminding one of the viola. range. . The

second half presents the unvari~d repetition of the mel~ an octave

lower, a cello-like register. To each is given a broken chord

- - - - --
accompaniment; the first using the 'A minor chord in variation. At

measure 13, the third of the chord is suddenly exchanged for the major

third, C#. A few measures later, this tone becomes the pivot for
a new chord of accomPaniment, C#, E, G. Now Bartbk stresses the

- - - --..l.f....Ljf_tlLo.f_this diminished chord, G, as a "ghostly" sopranO echo of the

low A featured in the first section.

 .: - At first glance it might appear that there is no v:rriation of

treatment in the three accompanied melodies. Hol-Tever 1 comparison

would show a wide presentation of material and expressive devices.

-~--- ~( --::- ... .,.

- -- ---- -- -
fJ -
:If,
. _
-.;
--
Jl..
..:

[iJ-1 -"G, ~)
~v JtL
.- ;
..........
r-'"""".......__
-~ n
f. lil-- -...... y ~
LL ...,.- ~
_. .....
...... .,. 1.' . -

I I I I
I I

r
~ A ' .....- - ~
I.

~ - :f"
~
~
,
~
', ' .

fJ
J
I I .r

~ ~~
'
\ ..L.
.J. ,. -~ -
~
-~ -,/'- -~~ -1'!~
--~ A II -~&..-

Andante. ~o, .J=tu

A I
....._

\~~ Iff - - -
I I I
~7--l.-
I
- I
- I
- I
. I
- I
- I

The title, "IN IIDNGARIAN STYLE" (No. 43), refers to the form of
the composition, Bart6k 1 in his writings, states that many
..
Hungarian folksongs occur in this fonn. 'Ihe first and fo'urth
phrases are exactly alike. The second phrase is an exact repetition
 18

of the first but a fifth higher 1 and the third phrase is entire~

different 1 thus: A1 A - : B, A: In the part written for second

piano the second phrase is written a fifth below the first phrase in

contrast to the second phrase of Piano I, which ~as written a fifth

--
higher. The third phrase for Piano II .has its own sequential line1
. . .

as did the solo part, but adds an entirely new contrapuntal line .

against the last phrase of the solo part, which was an exact

repetition of the first phrase. The tonality of the solo part

is Dorian. The part written for the second piano is more chr0111atic

in character - yet of the D tonality, adding more tonal color and

sharper dissonances.

In the second version of "IN HUIDARIAN STYLE" (No. 4.3A) 1 the

mode is still Dorian but it is transposed up a fourth. . The left

hand now receives a contrapuntal "dress". This new version for the

lef~ hand will provide an excellent sharpener for the wits 1 since

the original was a slavish imitator of the right hand. As to be

expected there is a snag near the end. Probably the A in the right

hand of measure 6 is a misprint, and should be B.

I
fl
.

;

- -.
.... &_.
-- t
~, \
)
tJ
piuf
.
.;"""'
m- .:::::..
I
. ;

~~ __.._. ,
' - 1
i;
 18

of the first but a fifth higher 1 and the third phrase is entire~

. different# thus: AI A : B, A: In the part written for second

piano the second phrase is written a fifth below the first phrase in
. . . . . - .

contrast to the second phrase of Piano I, which was written a fifth

higher. The third

.
phrase for Piano II has its . own s equentiall1ne1

as did the solo part, but adds an entirely new- contrapuntal line .

against the last phrase of the . solo part 1 which was an exact

repetition of the first phrase. The tonality of the solo part

:is Dorian. The part written for the second piano is more chranatic

_in character - yet of the D .t onality 1 addirig more tonal color and

sharper dissonances.

In the second version of "IN HUIDARIAN STYLE" (No. 43A) 1 the

mode is still Dorian but it is transposed up a fourth. The left

hand now receives a contrapuntal "dress". This . riew version for the

left hand will provide an excellent sharpener for the wits 1 since

the origL~al was a slavish imitator of the right hand. As to be .

expected there is a snag near the end. Probably the A in the right

hand of measure 6 is a misprint1 and should be B.

/
fJ
. - - 5- ..............: 1
- - ~ -
-..--
. .........
~
)
~
.;
'.
piuf m- ::> .
---
I_
:::::.
-
I~
/'
.
' - , - ~ _1_-+--- t- I _....L
 In "CONTRARY IDTIOU" (No. 44) 1 either the first or second piano

part may be played as a solo. Piano I is a study in finger dexterity 1

staccato and legato, accents and s.yncopation. It has the . unusual

signature of F and G sharp. Piano II has a s~hature of four

sharps but the technical problems are much the same except it does

not require finger ciexteri ty. Here the rhythmic step is in

- . . .

quarters instead of eighth notes. Piano I needed

.
o~ tr.no sharps .

since it. used but a five note compass, but the iower part used all

the chromatics except F and G ~atural.i The mode or scale is.

mixed. In the guise of three innocent-looking .. little notes, the

last four measures of Piano I lay a trap for the unalert

.--- ---.-..---- ~
-~ ..... .
~- ~; -~ ..;. - ;:,., .. . :
.fi. - - I
~r
~ ~-
..,_"e ~ ./ ...:=: -
---91;H
1.1.. It .- ,.,..-
-
'

r
--

In "NEDITATION" (No. 45) 1 both a beautiful, subtle melody and

its simple supporting texture are woven from the triad of F minor.

The form is ternary. In the middle section the melody changes

---------------------------------------------------------------------
. 1. In both Nos. 43 and 44, the parts wri tteri for the second-piano
are very chromatic in character - perhaps it is one of Bartok's
answers to the Twelve-tone-technique idea.
 c.v

to the left hand and at .the same time raises the tonality a minor

third. The melody and accompaniment grows naturally and easily

out of the new A flat inajor triad. With measure 16, the right

hand chooses the pentatonic of the ~dian mode .o n A flat from the

second section for the role of accompanimentj and the left hand

prefers the Dorian mode . on F from the first section for the meloey~

All ends quietly 1 the lower voice on the dominant C o f the Dorian on .'

F 1 . and the upper yoice on the final of the Lydian ~n A flat. . The
. . . . - . :

bitonal element of this piece is so delicate that one is bar~

aware of what is happening. This is an excellent study for the

blending of tcnes . and the use of a colorfUl pedal, and requires

an honest musicianship.

The Phrygian mode is used in a clever and tricky little piece, .

. No. 461 called "INCREASING - DIMINISHING". Here Bartok gives a

. .
good-humored discussion on the problems of ejpansion and contraction

of intervals, note values, and dynaritics. At the same time the

. . .

composition. is worked out in free . canon, .and all of this is in a

frugal five notes. The road sign to this piece should read:

"Proceed carefully. Danger" - for there lurk from all angles une~ected
 21

pitfalls for p~pil and te~cher a~e. .o

I .-
- ------- ------ -- -- --

"BIG FAIR" (No. 47) suggests the holiday throngs, the bustle

and tussle of the noisy crowds, the side shows, but all is recorded
. .

in strict economy. The thr:Lll of anticipation of such a day is

described by the introductory ostinato figure made up of two .in-

tervals, both perfect fourths, out of mich grows. the ent:ll-e thematic

and melodic structure~ A master of the parsimonious, Bartok hoardS

. the middle note of his group of five, F#, to change the color and .

theme of the center section (measures 14-22). Gathering momentum

~.-
. -.

by use of a long pedal, by the piling up of dissonance, and by the

repetition of imitative figures at clo~e interVals, the "BIG FAlR"

arrives at a forceful climaX and clos,es in a broad fortissimo. ___ _ _ _ _ _ _ __

The mode is Mixolydian on D. As terms go, the student will )lave

had a unique arid satisfying illustration of "Vivace, con brio,

strepitoso" in a piece that is far from eas,y.

 22 .

"CRESCENOO AND DIMINUENOO" (No. 49) gives th~ 's tudent an oppor~

tuirl.ty to review the combined . touches of staccato and legato with

fresh, new material. . "M!NUETTO" (No. 5'0) , . in dance. form1 is a study

designed for the same purpose as the previous example. It is an

excellent example for the development of imitation between hands.

The exchange of the raised and lowered four~ gives it a modal .

flavor. In the second phrase, measures 5'-8, the thematic material

is inverted; the third phrase has a soloistic framework, offset again

. . . .. . . . . . . . .
. .
. by a return of the original first phrase in re.t rograde.

"WAVES" (No. 5'0) is bi-tonal in feeling. Ab is the concentric note

. . . . .

from .w hich the upper and lower pentachords swing in and out in an .

undulating pattarn. In 6/8 meter, the rig~?-t hand etches a rhythnrl.c .

and melodic pattern using but four black keys, and imitated by the

left hand in canon a fifth below. Starting from measure 101 . the

second section revolves around the one note 1 a white key 1 not used

in the preceding part, that of C in the right harid, a:rxi F in the

left hand. This portion, like the flrst, is also in imi taiion.

After an expressive silence, the first motivic material re.tUrns

unmodified in measure 18 and uses the four black keys as preViously,

. . . - .
. .

but now the left hand leads. The codet ta material is taken from

central notes. The piece comes to a quiet ending on the dominant

 . . ...... 23
'.. . .
..
. ~ ..,

, . . . .

in the lower voice and on the final in the upper pentachord1 both ot
which are Lydian. - ' WAVES" is an e:xpressive little studY witten to

cultivate a balancing o~ melodic content between the hands. The

dynamics are all _on -~he _softer side, and the .'Whole piece requires
. .

delicate shading and fine phrasing. . .

..!
fll.~ -- ~ .........::
. - .-
--
~ T

... ..........
-llll

.......
p IU6ito r
51 ~

t ~'..L
-. . crese. .

.........
. . .
--=-
-- -
. . . . .

...
.
-- ~

,
.- ~

Both "UNISON DIVIDED" (No. 52) and 11

m TRANSYLVANIAN STYLE"

(No. 53) are studies designed to develop an _evenness between the

hands in the division of melodies. The latter is more difficult

since it is in two part writing. Measures 27 and 28 require

careful phrasing. The points of repose are on the second tone.

"CHROHATIC" (No. 54) is a study for finger dexterity in clo5e

position. Its range of dynamics and variety of touches make it a

concentrated gyl!l!lastic period for digits, all in the short space of .

eleven measures. In exercise No. 12 in the appendix, the student .

 has more practice in chromatics with new material and is at the same ..
time being prepared for the next piece.
. .
Most students find the problem of playing two and three notes

. evenly 1fithiri the same beat a difficult one. BartOk has made study
. - . . . . - - .
. . - . .

No. 55, . called "TRIPLETS IN :UDIAN IDDE", alJnost foolproof by adding .

a ttmentor" in the part written for second piano. . The mot'-ve of four

eighth notes is first used as a meloqy with accompaniment for Piano

I; followed in Piano II by the same motive in unison octaves and in

canon. The same motive is then ~anded to . triplets . and receives

the same treatment. In measur~ 17, . the meter is changed from 2/4 to .

3/4 to accommodate the UEe of both rhythms in each part. At measure

18, eighths and triplets are heard in the same measure between

Piano I and Piano II. In measures 21, to the end, Piano I p~s

triplets against the eights in Piano IT. It is apparent that

Bart6k s aim is to prepare the student for the time when he will be

expected to play two-against-three rhythms between hands.

.., ..
~~~~ . -~!\~ - .
~--'~"---- ,

-
-.

A ~ ~ -... !, ~

' E,?:
~
~w -....r .
/I;'~
, [\.

. ~~mpr~_l) ~- '*'
.;.-!. -Ill~
~
- - -. ,--...........
I
. .
........_,
.......

~-1
-

.~

' ;

JJ(J. s;__ WJ
I

:
_A. . !.
. .
-
~
I!![

....... [" ,.,..,

r
L' J.-:

.. ..

t1

I
;.. ~ ~
~
~
,..-I
~
~
J-
I ~ . ,.

>- ~
I
'
... , ,
.

 .~: ..

"MELODY IN TENTHS" (No. 56) is designed to give a feeling for

. parts. The first study written for four voices presents not on]N' .

the meloqy parts but the organ points in tenths .

"ACCENTS" (No. 57) is the first

.
example. . of the
.
Rondo form. The

entire thematic material appearsin the first t~o meas~es. . It is

. . . -
a motive built on the ascending skip of a fourth, followed by a

descending scalic passage involving the same steps and an inversion

of the first fourth. The main t:heme is first ar..nounced in forte

in what seems tO be the Iqdian mode on D, and the interval of a .

fourth dominates throughout the entire cornposition, either as a .skip

or as a diatonic passage.

.~;:.~::;-i :..::!:q,_, I
:f

f, molto aarcaio

Iri 2/2 meter, the right hand gives out the motive and is

:fo11ot..-ed by the le.:ft in canon on the third quarter. At the second .

.
. . . .
.
. . .
phrase starting with measure 7, the rondo theme enters in the left

hand, now a fowth below 1 and is followed by the right hand . after
the interval of three quarters. The first contrasting section
 .,
26
. ---

offers a change of mode and of ~namics, now Dorian and mezzo forte.

The new theme at measure 13 begins with an interval of a third but _

soon extends itself diatonically to a fourth and final~ to a fifth.

- The Rondo theme appears the second time in either E major (or the

:Ivdian with the lowered fourth) and forte, as at the first. - The

subject is inverted and is restricted to six measures. The second

. - . .

appearance of the contrasting theme at measure 27, is bimodal and in

- .
four voices. The upper voices are in the cydian mode on F and are

followed by the lower voices in the Dorian mode in canon at the tenth.

Not only the melody, but also the organ points are in tenths, and all

-four parts progress in piano. The original key is used for the final

appearance of the rondo theme. It is an exact inversion of the

- - -

first entrance and given out by the left hand. The right hand fellows

in canon after four beats. As a means of climax, Bartok uses

fortissimo qynamics, a rapid "change of registers, and a melodic

expansion before the final cadence. While this piece cannot be

termed as "pretty", it is an excellent example _o f the Rondo in 44

measures. The technical devic::e of artificial accents, contrasts

of touch and dynamics, and the finger dexterity needed to piay it wellj
. . . .

put this piece irl the more difficult class of the second volume.
-.
"IN ORIENTAL STYLE" (No. 58) is a beautiful "mood" piece, using
the tonality of d minor. The left hand marked piano and expresaive

gives out a long-lined, delicate, flowing phrase, emphasizing the

 27

augmented intervals so natural to the music of the Orient. The

right hand follows in imitation of the octave after three measures.
A contrast is drawn to the middle section by the use of the upper

register and a change of qynamics and melodic contour. In measure

.15, the upper voice announces a return of the first material and,
true to expect~tions, the left hand again follows in canon of the

eighth at the interval of half a measure.

The enchantment of this piece lies in the ability of the per- -
former to handle two tonal lines with beautiful balance and reserve.
Careful phrasing Will 'bring out its delicate imitation. A touch

of pedal would heighten its exotic charm.

J---- --- -~---- - ----- poco rit,

!
:51
I
!I
I I
L_____ -.._
 28

"!1A.JOR AND MINOR" (No. 59) is an example of Bartbk' s use of the

free intermingling of. modes and tonality. In the first measure, the

. .. .F major pentatonic is used in the right hand against the F minor

: .

.. in the left. Both modes are used in an asqending and descending

' .

melodic curve, but each has its own rhythmic pattern. .After a cadence
. . .

ori the .dominant, . the moO.es are exchanged between hands and the melodic

pattern now etches a downward curve. At measure 13 the modes assume

their original position. Ater several argumentive measures -between

the elements of tonality, an agreement is reached in their connnon

denominator, the dominant~

---~~ent~=;. ..
--- . - . . -- ---- - - -
.
----------- --- - - t._..-...-...-::.:..::.:.--.:..~ ' ...

ll
~~~~
I'".:J"

._
........ .
__1.

__.!:__'!" IL.M..
~-
- I

f
.,...._

,.---
v

r? tr-
-- . I

JJ~
L I I

~~-~
~._-.............
"- h~ - I~ I~
..
,
~

------ - --- ~-
.. . )-
,.

. '

Nos. 58 and 59 are two outstanding examples of the variety ard._.

contrast to be found in the Mila'6kosmos. Both pieces offer the

same problem in musicianship - the hand:Jj_ng of two independent lines.

"IN ORIENTAL STYLE" is in 6/8 meter and the tempo is assai lento.

It stresses the expressive use of the augmented intervals of the

 29

minor scale and the qynamics are marked piano or mezzoforte throughout

the entire piece. "MAJOR .AND MIIDR" in 3/4 meter and Lento in

tempo, deals with . the simultaneous hearing of major and minor tonal ties.
-
The dynamics are marked forte and sforzando and require a broader,

more expansive type ot interpretation than needed for "IN ORIENTAL

tike a jubilant organ postlude after a church service,this

11 CANON WITH SUSTAINED NOTEs" (No. 60) rolls .out with a majestic tread
. . . . . . .

in four part harmony, amassing much tone with such slender means.

Using four sharps signature and 2/2/ meter, the soprano voice

gives out the theme in dignified, measured steps, while the alto

holds fi~ to the organ point on A. The two lower voices start

on E in the second measure, the bass holding the organ point on

E and the tenor following the soprano in i.lTJitation a fourth .below.

. . .

.At measure 8, the second phrase begins in parallel construction but

at measure 12, the theme changes. Now the major second starting this

section plays an important part in the following development and

cadence. . At measure 21, the bass now assumes the lead, starting on
. . . -

A; _it is . then followed by the alto in canon of the upper fifth arid

at the time interval of one measure. The organ points, E in the

tenor and B in the soprano, are not heard until the third measure of

each subject. The codetta uses the interval of a major second which
 30

l-Tas heard before, but now the upper voice of each second is held to

. form the organ point. The tonality of this piece is bitonal: a

. .

fusion of the Lydian mode on A and the major scale of E. The Lydian

mode. is used in the upper voices of the first section and in the . .

lmver voices of the second section, while the tonality of E major

is taken by the two lower voices of the first section and the . upper .

voices of the second section. .. lhe final cadence is :reached by a

. mingling of the dominants of both tOnalities: B, the dominant of E

major 1 and E, the dominant of the Lydian mode are heard as a double

organ point, the former resolving into its own tonic - and the latter

merging its own dominant personality into a common final - E. 'l'h~

change of modes in measure 21 does much to change the mood~ It

becomes darker; the jubilance of th~ first section is not lost but

there is a ::;uggestion of more peace and repose. This composition is

an excellent study for the acquiring of arm weight, large tone and a

solid1 steady rhythm.

-
fJ._ ~ ~; I I I I I I l I I

If-:
-
II

I tJ IE] . I -
...;....I JJ l I J~ J I J J I - - ......__
' 61:-LlL\-{,
J

~
- - - '
'
,..........---....., -~ i
("_~ . ::! . -: '"7;.

In the appendix, Bartok gives an explanation of the tonality'

 .31
. . .. . ... . . :~ . .
, _

. i .' .
of No. 61 1 "PF1i.l'ATONIC MELODY" 1 but it is not quite clear~ . : It

seems more probable that the tonalities of this piece include ~o

pentatonics derived from the Lydian mode starting on C and G.;

plus a superimposition of the melodic line in -the Aeolian mode.

. .

In 2/4 meter and Moderato tempo, the left haDa sets in motion an

ostinato featuring a tri tone skip and a descending fourth. . The

C heard on the first beat ~f each measure, acts as an intermittent

. organ point, over which is woven a piquant melody of small melodic .

contours, fashioned with the upper section of the Aeolian mode.

At measure 101 the melodic line continues along itS jovial way, but

swings down to the lower portion of the Aeolian scale. At that same

moment, the ost~to of the left hand also turns right about face and

starts a retrograde motion. At measure 181 the ineloey of the first

phrase suddenly appears in the bass, a full two octaves lower. In

the right hand is heard what seems to be a new ostinato figure, but

it is really another version of the original motive, now using a

Lfdian pentachord starting on G and in a descending pattern. At

. . ..
. measure 301 the Aeolian mode of the melody gives full sway to the

two Lfdian pentatonics, thus forming a six measure codetta and ending

. on open fifths, C-G and G-D. This piece is one of the treasures of

the second volume. . While both the song arrl its accompaniment are

. . .
--------------------------------------------------~---~----------------
1. The note for No. 61 in the appendix says: "Pentatonic: . The
scientific name is tanhemetone-pentatonict that means a scale
of five degrees without any semitone 1 or a minor scale where
the second and sixth are missing".
 32

marked to be played forte 1 Bartok expects the meloqy to be "in rilievo.

The rotative accompaniment with its incessant eighths and bitonal

\..
elements looks simple, but in this case, appearances are deceiving.

No. 62, called "MINOR SIXTHS IN PARALLEL IDTION" 1 is of more

. - . .
technical value than musical worth. It is a study in independence

of hands 1 finger dexterity1 accents 1 and a uniform legato and forte

tone. The right hand works with two pos i tiona, the combinations .

of G. A. Bb. C . and E#, Fl!, . G#, A1 B. used interchangeab:cy . and the -l eft ,
hand with A, Bb, c, Db, Eb and A#, B.D#,D .E. The tonal center1 i f any1

seems to be C# and A. This composition has an unusual rhytlunic

. .

vitality and a forthrightness that compensates for. its lack of

. J
'
appeal.
"BUZZING" (No. 63) is a genre picture in 17 measures 1 played legato

pianissimo from beginning to end, as told by the motor activity of the

smallest of insecta. A study in melodic seconds 1 and gentle harmonic

dissonances, it is also a workout for the weak fourth and fifth fingers.

Spanning but five notes and using a single meter, it still presents

rhythmic complexities and difficult spots. This imaginative little

study is well worth transposing into maey keys.

/
~~

~'"'
rt -
~ .
- - 1-+-~
- - - --l
-

~
~,

t
t:

~-

,
. .-.
'Jill I .

-
--n,.
--
-t
..-
.....

I
. .

-...~
_..,
'
 ULTIJE AND FOINT" (No. 64A) 1 played forte, legato and marcato, uses

a dissonant organ point between the alto and tenor n ~dE, against

which is written an independent melodic line. The melodic range

. . . .

is always that of a fifth. The bitonal element consists of the G and

E minor pentachords.; The second version; No. 6!$, is a chromatic

compression of the first, ending in a close_r discord.

j:
-------- -- ____ ___ .:..__ i

--- - t
Allegro . ..
..
i
'

11 t ..
I

~::7
7jH
-- . 11 -:_
_.....
,I

11
-- _.,
~
,I, .arocst, l1plo - - -

~~ !
i

I
,.

I I I ' 1. I I

. "DI.AWGliE" (No. 65) is an old acquaintance. It was first met

. .
. . . . .

L'I'l. Volume I as a song wl,th the accompani.ment written in parallel

octaves. In this version, the supporting _part is given a series ot

staccato chords, all bare fifths, and moving in parallel motion.
 ..
34

This arrangement provides excellent opportunit,y for the independence

of voice and accompaniment. If proof is needed, try singing on A

. .
.. . - .
. . ~ . .
against a .Bb, and D against a C1 In the appendix, Bartok suggests
. . . . .

that this version b.e used with one st'.ldent playing the accompaniment

and another student singing; or for solo piano, the left hand taking

the bass part and the right hand the melody; or even for tWo pianos,
. . . .

in which _case Piano I plays the accompaniment as written, and Piano

II plays the meloqy in octaves, or doubled oetaves. This is an ex-

cellent study for the development of a flexible wrist, soft -staccato

. . . . :

chords and unusual accents. . -

The last composition of Volume II is an excellent example for

Bartok's use of -form and structure. 11 1-ffii.DDY DIVIDED" -(No. 66)

consists of five supple phrases of six measures each. As is .

~haracteristic . of Bartok, n~t a note is wasted nor is tbere one that

cannot justi.ty its presence. . !he melodic phrases form a pentatonic

scale: E, G1 A, B and D. It is supported by several modal penta-

tonics. 'The for;11 is A, B,A, B' and codetta.

In phrase A; a soft and expressive song is given to the right

hand in the bass clef. The melodic cont.our is supple and clear and

revel ves around the tone B. The left hand has a supporting role 1

the pattern being an alternating fifth and third, played smoothly and

softl~, using the Lydian pentatoriic on G. Phrase B1 in the left

hand, is an -ansv1er to 'the first phrase with E as the concentric note,
 JS

and the accompaniment pattern is now in the right hand but the mode

changed to . the Dorian on E. Phrase A' has little variation in the

melody but is placed an octave higher and now the original mann~r of

accompanin:ent is used in the LJ7:dian mode on D. The second answering

phra~e., B'., occurs again in the left hand and in the same register

with the :right hand pattern in the rzy.dian mode on C The codetta

makes us~ of ostinato pattern used in two modes., the Phrygian in the

right hand opposing the Lydian mode in the left hand. . Not only the:

modes are in opposition., but the pattern of intervals are at variance .

. .

The climax is reached by a gradual increase of dynamics., ending in

, . ..

for:t;e. It is of ~pecial interest to note Bartok's method of link-

ing various phrases and modes in this composition: the Bin measure

7., the F# in measure 12., and the lol-;ered C in measure 19. Tliis

po~odal composition is the last of those to be dedicated to

Peter Bartok.

In summary., Vol~e II represents a wealth of musical expe~ence

gained in various ways and by divergent means. . There has also been

an outstanding development of technical ability for two reasons: .

first, it is the natural result of the study of the compositions and,

secondly., the planning of the appendix material has heen focused

on the problems . of the immediate moment. c<miPosi tion of po~-

phonic and homophonic texture have stood side by side., not only in the
 36

traditional major and minor scales but also in various modes,

mixed, oriental and original scales, some so chromatic in

character 9s to border on the Twelve~tone technique. There were

. various types of melodies presented, not one of which used the

same t,rpe of supporting voices 1 or was treated in the same ~xsical

concept. The student's lmowledge .of form and structure has in-
. . . -

creased 1 his . use of dynami~s 1 new signatures, change of meters, .

variation of touches, use of the pedal1 new rhythms, . accompanied s~ng,

- . . . .
and experiences in concerted playing are a few of the musical

skills developed in Volume II. The Nikrokosmos is a fitting title .

for- such a work as this. Each little study is truly a complete world

in miniature.
 37

CHAPI'ER III

In the progressive study of the Hikrokosinos, it is apparent ..

that the pieces demand more and more technical ability~ Step by

step' the student 'overc6mes dii'ficul ties' and the speed of his
. . . .
mental reactions increases. In Volume III; the careful planning

that has occupied Bartok can bE) readil seen. His insistent ad-

herence to the classic forms, although clothed in the harmonic

language . of the modern idiom, prepares the student for the cam-

positionS of the past and at the same time gives him a clear in-

sight into much of the music of the twentieth centur,r.

The first corrposition in Volume III, "THIRDS AGAINST A

SINGLE VOICE", is written in three voices. It is an excellent

. . . . . .

study designed for legato playing of successive thirds. As the

title infers, the voice manipulating the melody is opposed by a

. .

contrapuntal voice, which is doublj:;ed in thirds. This little

. .. . . . .

piece, marked Andante and piano, with fine opportunities fo~ a

slow crescendo and dinruendo, is more difficult than would appear.

The use of the Aeolian mode gives it a plaintive air. It would

-also make a usefUl study for pedai .

The two exercises ound in the appendix, written to be studied

along with No. 67-, are invaluable, yet No. 19 {Appendix) off~s

nothing new. The extreme fingers of each hand hold a note while
 .. - 38
...... .,.

the other fingers move in parallel thirds. No. 20, however, is not

only a techirl.cal exercise written to develop the playing of consecu-

. . .

tive thirds in legato touch, but is also at the _same time, a-- clear
exposition of a new rhythmic pattern.

. !( ' ------ - --
-- ~~"

fl ~ .. t - 11-
........ l '

~ .
I
- ~-~
'...,
~
)~ ~:
I : l '..J I i
.. ....- : -......! !
~ , r-v---1 "T'"'f -c- , -

. .
_); ..l.
'1 "'!;I'
....
- .

' -

. ~

This is an exNrrple of the means by which Bartok enlarge~ his

rhythmic horizon. By dividing the conventional meter of 2/2 into

. . - . : .

n~ groupings arid their variants, new rhythmic patterns are de- .

- veloped which will be used as basic rbythins for lat_e r studies. in

Volumes IV and VI. -

11 HtmGARIAN DANCE" (No. 68) written for two pianos, is in the

key of D major. The right hand for both pianOs uses different

5-finger positions on D, G, and E. The left hand part for both

 39

pianos uses the same position throughout - on D. Piano I has a

tricky variation form of accompaniment in double and single notes

and Piano II consistent~ uses an empty fifth on D . . This stud;y
is an excellent preparation for the Bach Two-partinven~ions.

Here. the student can work with and listen for his contrapuntal
companion without doing all the work himself~ This 1it tle piece
. . . .
demands a sturdy technique and a spirited performance.
- - ., . .... .: j

: ~~~~~:~~~.~ro~- ~~-~~~,~-~~~~~~~~~~~-~~-:---;.~'~:~-~-~-~--~--~--~-~-~-g-~- -~---~~,\

t --w II'
-
-J-F--fJ--;;--{1-A-f:: - - -
~.......,_, -l', _
- -
.C.~ - il

No (,8
"
1l
~\-)
e) ..

-
~ I

-
-
I
-- l
\1] 'I
I

'
I
- ~,

.. .. .. -
11 ... . .. .. .. .. ...
. t
...
--. ..-
-
.
-~--
~
.
..
.. ~. . ..
~
I

-';
"CHORD STUDY" (No. 69), derived from the . rnixo~dian mode and
. .

_using the 6/8 meter, _is the first composition in the Mikrokosmoe
based on the use of the triad. On first impression, this piece
..
strikes one as being lessappealing but the more one studies -it,
the better looking (and sounding)-rt- bec-omes. -I-n--tact, the
 40

. ')

craftsmanship exhibited in this piece makes it one of the treasures

of Volume III. This is an excellent study for the development of

li
J=I'F [F R ~ C:fct ~~
. .... "\-
rot.= t- . rt:- ....J=: -
: ~ J1
I
I
..,
I 1'\..'V
I p I
J_ _j,

I
f -
~
I!""

rm - Iirr= ::::
11

I - I
.:
Jil.
.......
I I I
-
- -- ---.
,. """"- _. .
-; ... ._ J ' .
-~ ....... ~
~
-
..
~ '"'
...__
~
~ .r

WI'ist staccato and variation in dynamics. .The melodic scheme

opposing this technical device is . serene but sturdy. The form is

a two-part structure. The second part starts at measure 19, where

the figures of the orj_ginal two-measure introduction are dirlded

between the staves. It is an almost -identical inversion of the

first section. The tonal center is the triad; G, B, D1 l-rbich is

used on the first beat of almost every measure~ Bart6k' s device .

of usjng the fundamental chord, with the chords above and below it
. . . .

as embellishme~n
~t~,~~rs~s~e~e~n~n~er;e~.---I"n
~measures 15, 23, 27 and 31, the
chord motive is expanded but it always returns very soon to its

. Tonal center.
 One of the most beautiful examples of bitonalit,y in the entire

set of 11ikrokosmos occurs in No. 10, "MElODY AGAJNST OOUBLE NOTES".

Written to give practice in the blending of voices, this song; in

its suppleness and freedom of melodic contour, does not deny its

peasant ancestry. The two hands work in close proximity 1 spannirig

. . .

.
together the interval
.
of .a major seventh. .The right hand position .
. . . . .

. .is almost all .black key position: F#G#A#B C#; the left hand is all

on. white keys: D,E,F,G,A. The first section features the song in

the right hand, marked forte and espressivo. The signature is that

of B n~jor1 but the tonali~J is clearly the pentator~c on F# major.

The subtle and wistful melody chooses F# for its anchor tone~ The

left hand, in soto voice and pianoJ contributes an accompaniment in

unobstrusive alternation of fifths and thirds.l In measure 9) the

- . . ..

prolonged G# forms a link to the melody now being introduced in the

left hand, the ear gratefully accepting the A instead oJ_.the All wich

it could have eXpected to hear from the right hand 1 s tonal set-up.

Heasure 10 brings about a shift, the right hand taking over the same

p~.ttern of accompaniment, and the left hand assuming the melody

role, again marked forte and espressivo. . The melody now starts with

an inversion o the origilwl, but has more reedom as it progresses. .

-----------------------------~--------------------------------------~
1. No. 70 is a continuation of problems treated in No. 661
Volume II.
 42

In measure 17, we ~ear for the first time the middle notes of both
five-finger positions, the F in the left hand and the A# in -the
right hand, leading naturally into the codetta. At measure 17 1
. - . . .

the plaintive little motive heard in measure 2 is used to usher in

the codetta material, and is immediately echoed in the right hand

in measure 20.

:.r-: - .

-z:,,-w .:l.lo~ -~ ~
---....
. -. ,.,..- [_
. .. . ':.._.;___..._ .. .... . _;;.~ ~ ~ -':"l-

"""'.
-
I
1

I
--aJ
I At
r~_:
~
I

~) "'IJI1]
t ~
~
- --.... ~ -
-- ~
'
'
--- ~ ~- I
fY: - ~FF
......... ..... I
--+- -

--- --_ - _-. 7'~.- -:.~ :

. .. -
I
. ' . .

- The two tonalities, using the accompaniment pattern iri gentle

bickering, become softer and softer In measure 23, those

. "missing links", the thiids -(F and A#), make their second and final
appearance, leading into the cadence. Each tOnality gently am
persistently presents -its own third, _the combined tones producing 3

fusion of theE major and minor triads, E,G,G#,B. _A final agree~

ment, friendlyto both sides, is reached in the final chord, a

coalition of both fifths, D-F#-A-G#.

 43

The chief content of No. 71 1 11 THffiDS 11 1 seems to be the rein-

. forcement of two linear voices with thirds, which are woven back
. / . . .
and forth in an undulating motion Bartok, the experienced teacher,

. is in evidence here. This study,

.
which is techn:icalzy difficult .

and demands endurance, - was prepared for by the use of. a few thirds

in study No. 67. . The melodic . st...-ucture of this composition shows

a linear plasticity, frequently aided by a change in meter and

tempo. . These elements are some of the i'ruits of Bart!ks study

in folklore. No. 71 is in ternary form. The first section, -in

D ~or 1 is pl~ed forte, and ends on the D major triad in fortissimo.

~he second section, also marked forte, exploits the relative major

key, F, but again the cadence is in D major. The final section,

now surprisingly soft, diametricaily opposes successive thirds in

both hands, always in contrary motion, and with opposition of

.
. . . .

keys as well, F major in the right and D min6r in the left. And
. .

for the third t:Une 1 now more in contrast than before, the cadence

ends. in D major 1 fortissimo. In measure 28, the soft clash of

. .... . .' . . . . .. .
-- ---.'~~-~:. :...:,
.;.

- .: .--

I '

1
'
.,
. ''

I
- - - - -- -
.
'
.
. . . . ... . .
. ...
. - I (
J ~-

dissonance, is the result of mixing major and minor thirds, B,D,G:,Bb.

 44

To avoid straining the hand, this study should be practiced slowly .

and firm~, taking great care to relax. Speed is the last element

about which to 1-1orry.

. ' .- .

Chromaticism, as used by Bartok, has been discussed elsewherel ~ /

.
and Study No. 72 is an example in the concrete. 11 !RAGON DANCE 11 is

in four voices and three sections, each haVing its o'Wll tonal center~

Opening with a firm 111.ajor second in both hands, the outside voices
. . ..
erect a strong organ point on G, against which the il"'.ner voices

labor in grotesque antics. . Bartok's choice of notation here makes

the mirror counterpoint betrmen the two inner voices harder to per-

ceive, such as his descending diminished fourth, F-G#, reflecting

an ascending major third, A-C#. At measure 9, the organ point, a

- .. ----~ --- -----, -- - - - -------- . _ ..:._ ....
__

.,t:
Molto pesante, J: tot ~

_._!
. '
minor sixth, is thrust into the inner voices as a bolster to the

structure. The organ point in the tenor raises the tonal center

from the original G to G# The inner voices now take over the
. - . . . . . . . .
-------------------------------------------------------------------~
 ..:
. .. .
. . - 45
.. '

organ point, a minor sixth, which is thrust into the inner voices .

as a _support to the structure; the .outer voices now take .over the .
. _ .
contrapuntal mirror.- The alto . organ point; in mea~ure 9, uses the
tone .E, which is the "hoarded" middle note in the rig.h t hand of

the first section. In meastire 13, the thirds of both . the right
. . -- . . . .- . -

and left. hand positions (of the second section) a:re struck to- .
.
gether. This seems to be the fi1'_s t appearance of this combina-

,tion but the same two tones have been heard all along; . each in

the . opposite hand, as oragn points. At measure 17, the outer

voices again take over the organ point using the interval of a
mino!' sixth, but the tonal center is now lowered to its original

G. From measures 15 to 20 inclusive, the reflection in the .~J)per

voices is not an accurate one; the waters are apparently disturbed.

At measure 21, a new organ point is taken, a clashed major second,

D and E, both written in the treble . clef Lnd between the inner

voices. The. v12ters have become placid,

. for . now the reflected

image is again accurate. The cadence .chords are strongly

accented, G-D, and D-G, driven in like two strong spikes, fir~ .

encasing the tonal centers.

"DRAGON'S DANCE" is a pictorial gem. This monster in a

Hungarian fairy tale assumes humorous but believable proportions, .

as told by Bartok, using the deVices of the sturdy 2/2 meter,

 46

square cut phrases in blocks of two and four measures, strong dy-
, . - . . .

namics, and accented organ points. Bartok's use of chromaticism

is clearly not like Schoenberg's . Not until measure 18 does the

left hand use its last note, D/1. The right hand never uses i iS

twelfth tone. 11 DRAGOi.P S DANCE" is an excellent study for arm

weight, phrasing and rhythmic stability.

The teaching aims in No. 73 are two-fold .- chord .playing and

rli"ist staccato. "SIXTHS MID TRIADS" is written ill the Mixo-~dian .1

mode. The first 8 measures feature the major and minor sixths, in
..l
alternate hands, and then together in contrary motion, playing

piano. 'lith a sudden contrast in dynamics at measure 9, the

sixths are filled _in and the right -hand works with _a series of

triads in the first inversion while the left hand worries over a

series of triads in the second inversion.

(~
. -
) tJ
~)

~ ~. "'
_1.H)l.
rffi
. ~-

-
.,........,.
14;- r l..,'.
-Li~ 1J. .VlJ-
--
,\-....(:-
I
1::::1 ~
~~1:1;.

......
.1--J,
i
-
.t:= 1-
l
' - -- - i

The rhythmic diversity presents some difficulty because of the con

flicting mental picture - the opposition of triads in different

 47

. ()

positions. The exercises No. 23 a,b,c,d, are easier, using only the

first inversion in both hands and in parallel motion. It rrould seem

better to . teach .the _e xercises preparatory to the study for which it is .

..
written. This study is the first of a series ~esigned t6 eXpand
the hand.

"HUNGARIAN SONG" is typical of the good natured eXu.berartce

one expects to find in some .f olksongs. Version No. 74A-, for piano
. . . : . .
solo, is so eloquent and diversified in the treatment of its three

. stanzas that after one reading cf 74B, words would almost seem-.

superfluous. The bustling, little ostinato figure used as :the

introduction, brings Mary Ellen 6ri the scene. \lith gusto and energy

the tune appears first in the lower voice. It is supported in the

rieht hand by the initial ostinato, reinforced with a :tonic organ

point, c. At measure 15, the melody is taken over by the soprano

in the ri~~~ ~am, using an organ point in the alto. . Uou, in the

follOwing measure, the accompanist not only deserts the original key

for the relative minor, A, but also takes a _new figure. This new

stepwise passage, alternate~ ascending and descending artd stressing

the tonic and dominant of the new key, depicts for us the sad state

of affairS m which Thomas James finds himi:>t:ll . Finally 1 the

11ft.f?IJ riJ - - - - -- -o...-:.:.'-'"

...--:
r1 1 J - J J
-" -

f
t eJ I I
- :f!-.=
I

[Jj)
-~
.
74 J-.1 J.Jl ~- t I
.......
I
I
I -
' - ~r
 48

.t hird verse has yet another accompan:Unent. Heasure 24 finds the

song :in :the upper voice, an octave lm.;rer than the precedir1g verse.

The left hand also takes its positi9n in a lm.;rer octavej starting

with a aforzando major second, the upper note being held as an

orgari point and the lower voice rising to meet it at alternate

measures. Heard first in measure 22, the sharp dissonance

anticipates in 11 sound effect" the resounding clap With which _

Thomas James lL"1expected4' receives his chapeau

------a11
. I .2,.4
- . ------'----- ---- - - -- -
".,
~

-...... - ~:. ~.-

- v- - .

v
v
I itf' r I . r- --, .ir r
-- --
1

A comparison of 74A and B, will show the siJilplicity and ease

with Which BartOk uses his original harmony to provide an adequate
 49

setting for the voice. Both arrangements might make valuable material

for practice -in _transposition.

"TRIPLETS" (No. 75) reveals BartOk, the teacher, giving diligent

. . . . . . . .

attention to the review and an enlargement of a previous lesson from

Volume I ("LYDIAN IDDE"). His aim is to insure .the student's

feeling of. the ~hythm of tuo and three notes against one. The change

of meters, rhythms, dynamics, accents and motions, places this

study in the trickster class.

,.
------ ----~-- --

15"
I
<
8'.

.,.r p

;::...
-
;..
. cresc.
.. .
;::...
,
. w-~
;::...
,
.
;,;
-
, -
-.
...
I ...... -~ .L
, .......
l""l _l_

..... -'.'
_, 1--
r
----. ~-
~; ~. ~ .. ...-
~.

In No; 76, 11 IN THREE PARTS", the tl-10 voices in the left hand -

are used in legato style with inten-veaving of voices and phrasing,

opposed in the right hand by a third voice in staccato touch. At

measure ll, t.'Y:lere is a complete shift of material between hands.

- --- - - -----
 5o

This study uses a combination of the Lydian Mode on D and the D

major scale, and rrhile it obviously has been designed for the
. .

promotion of good voice leading and mart.ellato, the results are

musical.

The next, "LITTLE STUDY" (No. 77), contains great wealth of

-_study material in the small space of eighteen measures. The mode

is the transposed Dorian and the form is binary, with the second
section repeated and varied: A,B,B. \lith energetic sixteenths

and eighths, ma.rked forte and Alleero risoluto, tile first phrase

of folir measures, gives an exposition of the material used This

. . .
motive, in parallel octaves between hands, provides ample opportunity

for good finger articulation and expansion of the hand. At measure

. .
5, the first phrase is repeated a third higher, . in sequence form .

At measure 9, the meter changes from 2;4 to 3/4. Here the motive

identifies itself as an inversion and an expansion of the figure

used in measure 1, and is immediately used intwo sequential

. .

patterns, each a minor third lower. A varied repetition of measures

9 to 13 follows. The right hand material is repeated exactly but now
 51

the left hand uses simultaneously in retrograde, the same ma. terial

of the right hand. -

. . ...
~ ;

&~-------~--------

Bartok's fondness for meter vctriation is seen in measvres 11 1

12 and 13, where the melodic material could have fit into the 3/4
meter had Bartok wished it to do so. A comparison of .measures 1

and 16 of the left hand, and measures 5 and 10 of the right hand

-vTill reveal the _concentration needed by the pupil (and the teacher)

to catch such insignificant little changes. Various measuresj such

as 9 and 15, show awkvrard positions. . A change of fingering

would certainly simplify some measures, but .the technical skill

gained in the mastery of those same passages would thereby be lost.

"LITTLE- STUDY" is a masterpiece in miniature an~ rightly takes its .

place in the order of the liikrokosmos.

 ... . ,.

- ...,
. . .
.
.
'
' . . .

. '

Created with such sparse resources. a_n d ,hav:tng a sheer beauty

. all its o~m, Ho. 78 would seem deservi~: of ~ ~etter title.

11 FIVE-TONE S::ALE 11 is written in sfurple two~part texture, with the

notes K,G,A,E and-n-. . There is but one melodic idea which domi-

nates the entire com!'osition. . The me:)..odic germ is contained in

the first interval, B-E of meas't)l'e 1; measure . 2 uses the notes

within this interval to continue the line~ and- measures 3 and 4

are sequential. .
Phrase 2, measures 5 to 8, . is a repetition of
.

the first phrase a l'ifth . lor1er. 'The . first 8 measures use as

accompan.llnent an ascending three note figure followed by an

uprmrd leap, spanning either a fourth or a fifth. More tonal color

and variety is added at measure 9 by the introduction of F# into the

picture and by changing the direction of the accompaniment. From

measures _16 to 20, the right hand treats its two-note pattern, D-E,
-~ . -... .. . .
~ .. ~ ~ ~
f
- ---- - - ..
-
Allegro, J t40 .
~.
+
CJ
11
;<[

I
~ -
f,
--
/Jen n'tma to
h
.....
a
-.. -
;qJI I I I

I
I !
. ~---- - -- - ~ -- - - - - .. - - - , - . . .. __ .:..__.:. --- ~ ---- - - - - - --- - ----
'.. . . - -
- r
.,

with enthusiasm, and the left hand is insistent in its use of F#.
 53

These measures serve as an or_ientation point, leading to .the return

of the original meiody with its nev7 companion motive~

-"HOMMAGE a J .S.B." (No. 79) is strongly reminiscent of some of

the little preludes of Sebastian Bach, yet there is a strangely

l.lllfamiliar
.
.
trend in its treatment.
..
Although
. .
the. tempo .mark is

Calmo, the unrelieved successi~n of sixteenth notes c:mtlining .its

organ point with varied accents, ni.akes the piece a veritable

"perpetual motion" composition. The rhythmic and melodic pattern

presented.in the initial meast~e dominates throughout, even though

it undergoes various alterations. . Measure 1 presents the triad

of E major in broken chord form using sixteenth notes in a descending

pattern, follor1ed by a tied quarter note. In contrast, the left

hand ut'es the tied quarter note first, follorling it on the second .

beat with an ascending pattern of .sixteenths. . Both hands use

' .

-- -------~-----~--- ., -~ ----=~,_ --
Calmo,
. 5
J = 6t

I
I
.L1 I -~
_l
- t_

- ,;::::... - ,;::::... - ,;::::... - ::::. - ::::.~

...
tJ " ,;::::... . .

~ m.f,legat~ . --

:::::- ...._ ,;::::... I

.

:::::- __il
......i.
I

'
.. - ..---
~

-
~

- -- __ _j _ :
.. ~ ..... I.
~
~

";: .. :
--
.: -~
 54

sixteenth notes on the th:iid beat, always in contrary motion. A

study of the first few measures reveals two elements that persist
. .

throughout the entire composition; that the pattern . used by the

left hand on the second beat is really a mirrored counterp~int of.

. . . .
the right hand's first beat, and that the third beat is a simultan.:.

eous mirror. Heasures 2, 3 and 4, all variants of the first

pattern, are contained within the E major pentc>.chord. The tonality

changes to E minor at measure 5. A series of reductions or com-

pressions of the melodic material then follow, reducing the melodic

. . . . .

span from a perfect fifth to a perfect fourth, and at measure 8 to a

third. . Now .in measure 9, the diminishing process continues.

Starting with a diminished fifth (E - I?b), the span is then de

creased to a perfect fourth in the lower voice and to a diminished

fourth in the upper voice (measUre 10) and to a diminished third at

me9sure_ _11..!.. J1arked poco ri tard, piano, a.."ld crescendo, meastires

9 to 11 are defiirl. tely episodic means, by which .the original motive

is reduced to balf steps and augmented again to penni t the effective .
...
ret'lirn of the first material. Relief from the tension is felt in

measure 12 1 and a new tonal freshness. results frcm a bimodal treatment, .

. .

g1.nng the LydJ.an pentachord on E to the upper yoice and .the .

Phrygian pEmtachord on E to the lovTer voice. The composition ends

 56

provides a smooth, flowing accompaniment in eighths. At measure

9, there is an inversion of material, the melo~r now in the left

hand and the. supporting voice in the ~ight hand, but starting with

measure 2 and follo'tied by measure 1. This device of inversion has .

been used by BartOk in previous examples. Up to . now, the two

polyphoi'lic voices have ahm.ys moved in parallel motion, but at

. . .
. measure 13; the crescendo in progress is made more . ef.f ective by
sudden change of the voices to contrary motion. The left hand in

measure 14 has the first larger interval used, ~ descending fifth,

. .
F to Bb, which sets the pattern for other leaps as the piece moves

tm1ards its cadence measures. A new melodic figure, of conversa-

tional character, starts at measure 15, in which the upper voice

uses C as its concentric note, and the loHer voice an Ab, fina~

resolving to G. 11HO}!HAGE a R. SCH." is bi-tonal, using a fused form

of the C and G minors, but the alternations are so numerous that it

becomes an example of Chromaticism as used by Bartok. . A change of

fingering in certain parts of this piece would simplify av1kwa.rd po- .

si tions but some technical advancement vTould be thereby lost. This

study is useful as an exercise for legato and as a dotted eighth-

sixteenth rhythmic pattern.

WANDERING 11 (No. 81) really does wander in and out of major
11

and minor pentachords, various modes and undetermined tonaltiea,

 57

but the 11 rrandering" is pure:cy psychological, for this piece is so

ca.re.f'ul:cy and strongly knit in texture that not a single note i$

without meaning. In po:cyphonic style, the f:Lrst phrase of seven

measures is built on a descending diatonic . figUre and is immediate;_.

:cy repeated in inversion. Measure 15 brings about a change of

. .
motion and mode in the center section. . Here the moti.v e is an
. . - .

ascending diatonic figure, and the. modes are the J.vrdian and modi-

fied Dorian which result in a change of tonal color.

_,.
--:. .. '

r- .- - Non
- - - - -- - --. -- . I

I
I
~ -;,~

troppo Iento, =11
\a:_
~#- d j- ...... ~-
I .
.I.- I I. . ...-... ---
) tJ "'P (j) . @ -
~ . ~
!
( -li
' i.i
p
t--....._ , - ~
--------- ------- - ------- --- --------- --:- - - -- -
t---___"-
--- - .
I* ., -
.
-:orr

-- I ->
- I -

- A reappearance of the melodic material of the first phrase

occurs at measUre 28, novr t-rri tten ail octave lorrer than the original,

and ~Ti th its lO'tver voice following in imitation a fifth below

rather than an octave as in the first phrase. The dynamics, always

on the softer shades; contribute toward the planned feeling of

..
- -
 58 .

vagueness. Somehow,. this wanderlusting study, after all its tonal

migrations, contrives to find rest in a simple G major triad. The

student's attention should be directed toward the obvious mi.9take

in the metrical signature. A mispring gives 2/2 instead of 2/4.

Careful phrasing and scrupulous attentio~ to the dynamics will re-

. . . .. . . ,
lease the innate beauty of this piece. Needless to say, Bartok's

title refers to the chromatic character of this study, and any

"wandering" mental activity on the part of .the student . will. prod~ce

. dire results.
Exercise No. 29. (Appendix) gives a clear exposition of

Bartok's scheme of rhythmical division. Here he presents the

1/8 meter and proves by his accents that the groups are to be

. felt in units of 2 - 2 ...; J. This exercise is preparatory to

the following piece.

; .
'. . .-.. .
~

"SCHERZO" (No. 82) is polytonal, combining the pentachords

of the Lydian mode, major and minor on D. On~ the four opening
 -. .
59

. .
measures are written in 7/8 meter and it is to be regretted that

Bartok did not continue in this in~eresting meter and style.

Starting with measure 5, the piece _continues more as a study in .

~ist staccato, accents, and trfixed:. position" -spacing of_ the. .

. . .

hand. There is much variety in-meter, notably nine changes within

twenty-five measures. . The dynamics range from piano to fortissimo.

"SCHERZO" is somewha_t less appealing than other studies in Volume

:- . . - .

III because .of its dissonant and percussive, rhythmical character~

. 4 I . . . .
Nevertheless, one must admire Bartok's careful planning as can be seen

by his placing this type .of piece at -this point, contrasting

forcibly with the melodic nature of the previous six compositions.

"MELODY vliTH n~TERRUPI'IONS" (No. 83) offers a good vehicle

for the development of a strong, reserved type of playing. Harked

Risoluto e pesante and fortissimo, this dignified and impressive

song, rings out in rich and reoonant octaves, leaning heavily on

the dominant and finals of the Hypo-phrygian mode. The

"interruptions" between the melodic points, as in previous e:Xa'Tlples,

Nos. 61 and 78, are devised by a harmonic pattern of alternating

thirds and fifths. One of BartOk' s few pedal marks occur in this.

study. Among other requirements necessary for the tasteful in- .

terp;retation of this piece, are good poise, careful pedaling, and

a steady, even rhythmic pulse. Like its two predecessors, No.

83 challenges the imagination and conjures for the performer and the

_listener, a vivid mental impression of some distant and oriental

land.
 11 !1ERRD1ENT 11 (No. 84) is ~ delightful bit of moo.d music in

t"t-Tenty-eieht measures. . LOud syncopated chords that. claim some

relaM.onship with cymbals and tambourines form the introduction.

Brilliancy of tone is accented by the use of the pedal. After a

. meastire of e)cpressive silence, the melody, di vlded between hands

in an arpeggiated form; is introduced. . Its floHing rhythm in

quarter notes ahd eighths, gi_res it a harp-like quality. . Measures

B-11 are free r etrograde inversions of the preceding f~ur rnea~ures.

. . . . .

A comparison of measure 4 with measUre B, and of measure 5 with

measure 9, reveals the ease, freedom and simplicity of l-ll"iting so

evident in the Hikrokosmos.

..,_.'
-.-. .. .....

- .
I . I

- -~
, -- ~1 :

L.l I'""""'
)w -......

............
:. :
- -- --- -- '

Heasures 12 and 13 have the same harmonic and . rhythmic pattern as

measures 1 c'ind 2Lb_~!- in an inverted manner. Starting With mezzo-

forte at measure 14, the left hand follous the right hand in
 61

- ~ .

imitation of a fifth belo"'-Tj the melodic pattern of four eighths .

(measure 18), used in contrary motion and "1-Tith overlapping of

phrasing, piles up a cres.c endo that ends with a climax in forte

at measure 20. After a few phrases of contrasting . Ill3.teriaJ.,

punctuated by longer rests, ~he study c.omes to a closing ina .

. joyful and hilarious mood. "HERRIMENT 11 presents a real challenge

to the s tuderit. The '~-Tide range of t.echnical and artistic demands

required for its rhythmic patterns; intricate phrasing, .contrast

of qynamics, careful pedaling, and finger articulation, plaes

it in a class suitable . for 11 little artists"

"BROKEN CHORDS" (No. 85) could have been ju5t one more

monotonous exercise designed for playing of arpeggios. But in .

the hands of Bart~k, this littie . st~cy has riot only filled the

technical requirements expected of it, but it has also become a

piece of musical value and a means of personal .expression. In

. .

6/8 meter, rarely used by Bartok (Nos. 41, 49, 51, 69), "BROKEN

CHORDS" has an impressive introduction and codetta which are

allied by kindred melodic material. Most measures consist of.

- - . . - . - . . . . . . . . -

. some melodic form of a seventh, ninth or an eleventh chord. With

. . .
such slender textural mean~, abeaut:l.ful. ~d lo~ly melody resUlts .

: r-=o=m=- the plasticity with which it is allowed to turn, shift, and weave
- - ---=f=

. its "tTay from phrase to phrase. Starting rTi th measure h7 i Bartl>k

writes \-Ti th the expansion of the hand in mind and uses the cornposi te
 62

intervals of a seventl1. Using this same little motive in botll hands 1

but in contrary motion and alternating; the left hand shifts its
- . . .
. . . . - .

position by a third each time, until in measure 51, _the two hands

. are playing in the .closest of positions_. Exercise No. 30A

(Appendix) features chords of the seventh iri solid version and

staccato, while Exercise No. JOB uses the chord in broken _form

and in legato. In retrospect, Barttk s plan for . the expansion of

. the hand can be clearly seen. Volumes I and II of the Hikro)<osmos

uere designed for five finger position. No. 73 of Volume III was

the first etude designed. to span the sixth, and No.; 85 the first

to span a seventh.

,.,... .I

___ . ....... --
. ._:_:.. ~- -.. _,. _ .~ ..: _____ _ ~

- ... . . ..
-
I
-.
.~ ~
(
~ ~

=;j-.t
&

.. ., .- .,; ..
_.o;lt
. .. ..
- I
I
I
:z.
I
308 I ........ I -..
- l
 . U,;)

An expressive use of the bitonal element is found in stu~

No. 86, 11 '1":0 HAJOR PENTACHORDS". The first phrases are marked .

Andante and piano, the upper voice in C major and the lower voice

in F# major. Although the teaching purpose of this piece at this

particular point is the blending of the two tonal concepts, the

C major strain predominates. A change of tempo . and melodic

design occurs at measure 9. Here the tempo is Pit. andante and

now, in contrast to the basic chordal e..L.ement of the first section,
the melody beco.TTles more diatonic. in character. In measure 19,

the G of the upper voice, which has been used but once in th~

preceding measure, is given a sudden prominence by entering as a

third voice and as an organ point. An ever increasing use of. the

~1 of the lower voice is apparent, and at measure 23, it is

promoted to the dignity of a fourth voice and an organ point. In
syncopated rhythm, the four voices, -vlith the outer parts sustained

and the inner pC~.rts reflecting each other, reach a climruc (fortissimo)

in measure 31. After the prolonged climax chord has t:hinne<i out in

volume, Tempo I returns and the piece ends very quietly. The use

of the c major triad in pianissimo against the fundamental of the

lm;er voice (measure 36) F#, is most effective. The damper pedal
. . .

. vrould add volume and color to measures 27-32, but the percussive

character of the passage would be lost. 11 TVJO HAJOR FENTACHORDSn is

a rewarding study in transposition.
 64 .

. Perhaps "VARIATIONS" (No. 87) is not really a folk song, but cer-

tainly it is pregnated with the spirit and style of folk melOdy. The

emotional .feeling is carried in the melodic line and the harmony as

such is subordinate, often assuming the role of "pointing" the rhythm

and strengthening the tonality as well . In 2/4 meter, the straight-

forward little .theme is accompanied with an extremely simple a,nd

economical harmonic means, both in predominately nOrian modai color.

. . . . . . .

The first phrase, A (three measures), is repeated a fifth higher, A.

Phrase B (four measures), combines a two-measured niotive and its _

sequence, a fifth lower. . The fourth phrase is an exact repetition

of A. Phrase B returns, but now in. a lower register, and Phrase A

follows in unaltered form. The construction, then is thus: A,A' ,B,

A,B,A. The variety of phrase lengths gives a natural punctuation to

the folksong element of this diminutive rondo form. Variation I makes -

but slight changes in the theme as s.u ch, but the accompaniment offers a

contrast in color . by taking on a D major coloration. . The accompani-

ment now takes on a new element of contrast. The successive thirds

----------
in phrases A, A', act as a combining force, linldng the various phrases

closely, by the use of syncopated rhythm .;rhich prevails throughout the

first variation. Variation II i~ so charming that one vTishes Bart~k

had written more variations. This section not only is marked by a

change of meter (from 2/4 to 3/4) and a change of mode (from Dorian. and

D major to the Lydian on D) but has been treated more freely-and is

 65

extended in form. As to the interpretation, the first section,

. . .
.Allegro moderator, requires a clear, direct e;..-posi tion and . a resonant

tone; as is indicated by the markings - forte, risoluto. In Variation .

. .

I, Pit. mosso, care should be taken that in the increase of speedthe

. tonal line is clear and unblurred. The syncopated chords should be

played smoothly and Unobstrusively, vlith special attention to the

sforzando in measure 32, - ~!d to the accents over the foll'ouing chords.

Variation II, (Lo stesso tempo, tranquillo), needs an eXpressive yet

restrained .p laymg, avoiding aeything like sentimeritali v. .The

Cantabil~ (ttieasures 41-48) requires a solid but rich tone, ~nd a discreet

blending of the droning accompaniment. This entire section with -its

various changes in register and dynamics, its beautiful and subtle

accompaniment punctuated by eloquent pauses, require sheer artistr,y

of the young (or older) performer. . The emotion~l strain felt in

-these measures is so great that it almost tears apart the slendertex-

tural means confining it. Indeed, this small section . is one of

Bartok s real lyric isms, - one in .which he undoubtedly rTears his

Hungarian heart on his sleeye.

No. 88, rTi th its title, its flowing movement a:.nd the chromatic

a:n..-1olmces . its own subject matter in triplets and eighths in the first

four measures, and is folloifed by the lower voice. Measure II shows

. the first voice using its oim theme, again.st which the second voice
 . . .. : .
~ ~-

.. . ..
, . .
._ 66
. . . ..

. .
. .

sUpplies a quiet melodic line in quarter notes. The melody in--- -- -

._ '

quarter notes, is then assumed by the upper voice at measure 11, .

. .
and the lower voice ~ffers its movement in eighths and triplets - .

. The t1-ro voices, in conversational manner and episodic in character,;

. . .
exchange triplets on alternating beats at measure 19, leading into a
. .
\ .
new section, Piu lento. The new motive centers its attention on a

chordal outline, rather than the previous diatonic. This use of the

linear interval, the perfect fourth in the upper and the diminished .

fifth in the lmrer voices, is significant since it embraces the ex-

. tremes of the pentatonics of the two tona+f ties. "DUET FOR PIPES"

features the chan~ing note device as is frequent~ used by Bartok.

The pentachord for the right hand starts on F, and freely interchanges

the other four notes, thus: F, G or Gb, A or Ab, B or Bb, and C or Cb.

There is more restriction of color in the pentachord used by the left

. hand: A, B or Bb, C or Cb, D and Eb. The leading of the voices,

especially at the . cadence measures, would infer that the tonal

centers are F in the upper voice and Din the_ lo-v1er voic-e. Against

these two finals, Bart6k writes the extremes of each pentachord in a .

. short, plucked note. From a pedagogical point of view; 11 DUET FeR

Pifi'.S 11 is another step in Barto'k 's planned campaien for the per:fection

of theserhythms, as were other studies such as Nos. 55 1 75 1: and 85 . .

Other teaching problems presented in this study are the reading of
 67 -

notes in accidentals, involving flats and double flats. Attention .

. . . .
shoUld be called to the new rhythm presented in measure 5.
The slow tempo (largo-un poco piu mosso) and the consistent 2/2 .

meter of No. 89, IIDJ FOUR PARTS", give to it a feeling- of the chorale

of hynm tune. . The tonality of the first section (measures 1 to 9)

appears to be A major, in spite of the misle~H:lirig signature of two

sharps, C# and G#. A modulatory feeling comes with the shiftil' of

the tonality from A to G at measure 9. . Since this new tonal color.

always returns to the chord of A; it is more probable that it can be

considered a major chord on the lorlered seventh, rather than a possible

Lydian pentachord on G. This composition offers the student excellent

practice in the playing of independent voices, a good training for

future fugue study. The slorT tempo requires poise and restraint1

and the dynamic variation needed to shape the melodic contours offered

by its polyphonic lines, make the careful study of this composition

well worth t:ilne and effort.

"IN RUSSIAN STYLE 11 (No. 90) uses the appoggiatura in a most

imaginative style. This con:q:>osi tion, in 2/2 meter, marked Pesante,

a:nd with its rugged and consistent rhythm seems to have beeninspired

by the Ru~sian dance. On the first glance, the harmonic analysis .

 68

-- .

.,
would appear to be intricate. A stuqy of Bartok's devices will show

that his tonality is C and. that he has confined his chords to three,

thus:

:
j
,,
Ic - Ir- 1"-'r j;r-
~tD.SliiC~~- i

,.. v .,~:-
I'~"
)..I.

~b
IJ.

~
H

c.tt r
I I
I

Cho ,.J~
I
- I

The harmonic and formal construction falls into four measure blocks

or phrases, with the exception of measures 17 and 18, which are episodic

and suggestive in nat~e. Examination of the material (in measures

1 - 4) will show, in the right hand, the us.e pf F# as an appoggiatura

in the alto against G in the soprano, which resolves to the chord tone

E on the last quarter . of the measure. The left hand uses F (first

quarter) as an appoggiatura to the Eb (third quarter). This resulting

. . . . . . .

mixture of major and minor between the two hands, as seen qy ~easure 1,

. permeates the entire composition.. The second phrase . (measures 5-8)

is an . inversion of the same material presented in the previous four>

measures. The third phrase (measures 9-12) permits a lowering' of t he
. .
tonal center; from C major chord to Bb chord. A fourth voice . is

added here, and with the exception of a double organ point in the

tenor and the soprano (both of F), the treatment is niuch like the
 . .
69 ..
. ' .....

..
.. '
:.

previous measures. .. Measures 13 to 16 feature the use of the domiruint

. . . . . . : . .
seventh of
.
c, 1-rl.th the seventh acting as organ point in the soprano and
. .

the root in the bass. . Now the tenor voice has the appoggiatura of-c# I

resolving to B, and the alto Eb and C as appoggiaturas to D and Bb.

Here again, the tonal col~r is minor on the third quarter and major on the :

fourth quarter. Until measure 17, the consistent use of the .dotted

hair note and a q~arter rhythm, -with the appoggiatura . and the resolution
. . . .

in one of the . voices, ac ted as a unifying device Which will be abandoned .

from this point. The unharn10nized measures l7 cmd 18 seem to offer

the suggestion of the c minor tonality, ~n spite of the frequent occurrence.

of C major. The following phrase, measures 19 to 22, are a very free

inverted fonn of the first four meast1res, also in three parts, but the

A on the last quarter would seem to suggest the C major chord with

added sixth, 1-llti.le the Bb in the lcvT~r voice is nonharmonic. A dra-

matic and powerful conclusion is reached in the last four measures.

The four voiced texture is us.ed here, cmd the dominant seventh tonality,

with the strident F# in the tenor voice, comes to a qualified resolution

in . the final chord C-F#-C-G.

,.. ., . . .. ~

------ - ! -'.

' IDl

(37 MO.] .
 70

By the use of the unresolved appoggiatura F# 1 the listener is free

to choose his orm resolution, major or minor. nm RUSSIAN STYLEII ' is

one of tbe most difficult studies in Volume III of the Mikrokosmos. It

is especially good for the producing of arm weight tone, phrasing, and
careful holding of notes.
. . .
11 CHROHATIC DNENTION" (No. 91) is a twentieth century model of a
. ' . . . . .

Bach Trro-part Invention. .The subject is presented in a clear cut

linear motive, - a soft descending passage-which involves trrq signifi-

. .
cant leaps, the augmented . third and the perfect fourth. These two

leaps re ~~in unaltered throughout the composition. The omitted tones

in the leaps are found later in the motive ~n a chromatic series of

descending steps, thus:

. ... ,
....... ---
~ ~ ,;

Lento, J =n ,_
12 I I
- '.
..
""1:
!-(,' ....-::.:..~ rT-
,
..
~t:.("'j....J.._
~ ... - u , ........._ .. ~

"
~-
QJ . 11
"" "
p, e1pr. (D
:::.l -.....;,: . ha
Hn'o=! .
IL
:':~f~ 2:f-'"
' -~ ::1 ,
I
".....==:-
' ,, - I
' ---
I
...:....___ --

/'
ChTomatici sm, as used by Bartok, has a certain kinship vlith the Twel.ve ~---- _ ____

tone System, but with qualifications. In the above example, the first ___ _

seven half tones are used, with slight repetition, from A down to D.
 . 71

':>

Measures 4, 5 and 6 use the inversion of the original motive 1 now an

ascending pattern, and embrace seven oilier half tones from A up to E .

r-- --_-:-
! sap t

II

.. -
t
- - -----~
I
The motive heard first in the upper voice is follorTed by the lower

VOiCe in canon, ari octa~e lovTer at the tiTre interval ~f WO beats

Starting rTith measure 4, the motive . is inverted and the imitation;,

also in inversion, is at the interval of a minor ninth and after one .

beat~ . Only the first four notes of the motive are usec!_i_!l_~--E~:I:"i_e~ _

of sequential patterns_, starting rTith meaStlre 6. These descending .

passages, on Bb iJ1 mezzoforte, and progressive thru Ab, F#, E, __ n_

, _~d __ _
c' end in piano' the last being modified to permit an easy and natural

return of the original motive In the last section, the upper voice
at nr.aasure 12, has thr,ee -versions o! the origina-]:l--rin-rno-.-it;Hi;,v,...,er:.---"f'fl'tTn15e~l:,..oi"\1WEYoer;s.,.--

-
voice opposes it by three inversions of the motive, each imitating

at different intervals; the last i~ so extended rhythmicaily aa to

give a more gra.dual close. Becoming softer and softer, it finally

dies away.
 72

11 CHROHATIC DMNTION' shows restraint and discipline in its poq-

. . . .
. .
phonic treatment., balance of form., and integratio:i of material, The .

composition lies comfortabq under

.
the hands, and sounds
. .
.
well. .
This
.. - . . . .

extremely original piece, .wi.t h its air of pathos and variation of dy..

namics, is one of BartOk's most lyrical compositions, in spite of its

obvious cerebral conception.

The second "CHROMATIC INVENTION" (No. 92) offers much contrast

. .

from all points of view. Like No. 91, the forin is . ternary~ . and the

tonality of the three sections are encompassed by the chromatic penta-

chord on E. Section A, marked Allegro. robusto, forte, and marcato., the

. .
turbulent, dominating original figure., spanning E to :8, Inakes its

entrance in measure 1. This. motive, of seven eighth notes, at times

expanded or contracted to eight or six notes respectively, is used in

parallel octaves throughout the final section; all following thematic

material germinates .rrom it. Section B, at measure 8., abandons the

. -

parallel activity of section A, and is fundamental~ contrary in motion.

Its real burden, besides its role of development, seems to be the uni-

fication of the first and last sections. Here, measure 8, the upper

voice in forte has the dominating figure, (spanning from E up to A),

and the lovrer voice offers support by a variation of a three note figure
marked mezzoforte. On the fourth qucrter note of measure 10, there

is an inversion of thematic material and dyn~~cs. The left hand now

assumes the leading role (measures 11 14), and not only gives an
 13
. . . ..: . .

imitation of the right hand's performance, but .also expands the idea~

using E t6 A#. At measure 15, the upper voice enters- -on a strongly

accented. A#,.
.
rd.th
.
repetition
.
of the left hand figure, and is frustrated

. by not be:i,ng allowed the evident resolution to }3. The tension of the
. .

pr.:3 ceding measures is not relieved by the use of the tri tone figure,

F!l- G# - A#~ in imitation. !1easuresl7, 18, 19, are obviously epi""

sodic material or bridge, over which the stOrmy motive of the third .

section arrives. Basically, the louer voice of the entire last part

is built on a slow trill in forte, (A#, B) which has the significance

. . . . . .

attached to the dominant and its leading tone. Over the trill of

lower voice, the first theme, now in fortissimo, returns in a modified

inverstion of section A. Suddenly at the codetta (measures 29-32),

. . . .

in characteristic Bartokian manner, the pianissimo trill in both

hands is ushered in, in parallel motion and at the extremes of the

keyboard - five octaves apart. A surprise occurs at the last . .

measure, with the return of the inverted origillal figure of measure .

one, forte and crescendo.

A comparison of Nos. 91 and 92 is interesting. The free

polyphonic treatment given to No. 92, even though it is logical in

. . .
sequence and economical in material, the resulting minut~ variations
almost defy a satisfactory explanation, much less a simple solution-.

Unlike the easy puzzle of No. 91, the second "CHRO!v1ATlC TIIVENTIONS"

needs more than one mental shaking of the kaleidoscopic chromatic

 74

elements to produce an entirely satisfying pictUle~ Psychological~,

. . . .
. . . . . . . .
.both inventions combine mood and dynrunics, factors l~hich largely de~

termine the manner of interpretation. No. 91, Lento, piano, and

espressivo, uses a crescendo .i n the softer dynamics, p ~- nip - mf1

with an ascendir~ thematic motive from measures 1 to 1, and converse~,

. .
a decrescendo and descending motive from measures 8 to Jlt~ . The three
final measures, 15 to 17' are marked piarlissimo, ra}lentando arid

smorzando. No. 92. offers great contrast in its rustic vigor, and

rhythmic vitality and its use of the iouder dynamics. The first

composition Will develop an artistic feeling while the second is . a

. . ,
vehicle for the bravura style of playing. In conclusion, had Bartok

written but these tl-To small studies, a composite forty-nine measure,

his place in the musical cosmos as master of the miniature would

have been deservedly assured.

Although both studies, No. 93 and 89, are called "IN FOURPARTS",

neither has common elements of tonality, meter, mood or style. No. 93

is predominatedly polyphonic and po~etric. Its freedom of rhythm

. .

pulse and melodic contour s-t rongly relate it to the folk song rather
. . .

than to . the chorale or hytiJn tune. Its tonality pes ~s no problem.

The first phrase, consisting of three measures (2/4, . 2/4, 3/4), has
_.:._ _ an unusual sequential repetition in measure~ 4 to 6, the upper. voice
 15

a fifth higher and the louer voice a fourth lovrer. . Measures 7 and

8, (3/4, 2/4) are intricate ill voice leading, designed to keep the

student alert and wide awake. Its modified repetition in measures

9, 10, 11 (3/4, 5/8, 3/4) show.rs extension and variation. The organ

point of the inner voices _a nd the mirrored counterpoint of the outer . .

Voices (measures 13, 14), . demand concentration in .executicin The

clues to interpretation are given in its markings: Molto, moderato, .

sonoro, a.'1d forte. The romantic tinge of 11

IK FDUR PARTS" heips to

make it an altogether painless step in the process of le~ning the

artistic manipulation of sev~ral contre~.puntal voices.

In other studies of Volume III; Bartok has taken care to lay a

firm foundation for the study of the . fugue. In 11 TALE" (No. 94),

the student . is actually introduced to the fugue as a form, and his

previous training in the handling of polyphonic. lines .will bear evi-

. dence. This study, a fugetta in three parts, is a concentrated ex-

a'llple in the usual fugue form, consisting of the exposition, develop-

ment, :and recapitulation. In C minor, the left hand gives out the

subject, of folk song quality, in forte _and moH,o espressivo. . . The

answer is given to the soprario in the dominant key.. The counter ...

subject, in a most "un-fugue-like" :nanner) appears in ti{o voices

featuring the appoggiatura. M easures ll to )..5 are episodic but
. . .
keep the characteristic rhythmic figure of measures 2, J and 4~ !md

the accompaniment pattern set up in measure 7. The development

 .16 ' .
.. . ~

. . . .

section occurs in measures 15 to 24.

. _. .

Of special interest is the use of stretto between the upper voice iil
C minor and the lower voice in C major. The episodic material first
. ,

heard in measures ll and 12 is used again, b:ut with interesting varia-

tion, involving imitation at close intervals. J1easure 25 marks the
beginning of recapitulation, in "1-lhich the subject, now in the upper
voice, and in forte, enters in G minor. __ After one measure the lower
voice enters piano inC major but with an alteration which involves
the contraction of the original interval of a fifth to an augmented
fourth - (C - F/1, measure 26,27). Because of this significant change,
deb~ite the softening of the qynamics, the resulting combination is
dissonant in ch2racter and perhaps offers the suggestion that the ending .
of the 11
TALE" was not of the lived-happily-ever-after variety . Unlike

other unfortunate excursions into the realm of the fugue, ttTALE"

with its expressive and intensely personal melody and its romantic appeal
 77

to the imagination, should act as an inspiration for more fugue stuqy.

"SONG OF THE FOX" (No. 9.5) is a folksong in "variation form,

Its phrases are all in four measure blocks and the

melody does not vary by a change of one single note. Its variety

and charm come from the diversified harmonic support and the interpre,;.

ta tion of the text. The tonality is in D major. The melody of

phrase A, in forte, is supported by a block harmoey. Here the f~st

and fifth tone of the D pentachord .is present at all times, the third

tone being chosen from one of the three middle tones. The same

chords, in syncopated form, give contrast to phrase A. Phrase A,

in interpretation of the text, is marked "poco a poco piu tranquillo",

and mezzoforte; the gradual lowering of the bass line and the simulta-

neous slackening of ~~e tempo, indicates the v~ approach of the fox.

The soft left hand chords in portamento touch, of Phrase A'' , like the

sneaking animal's padded footsteps, become slower and slawer.

. - ---
' I
I
I
I
- . ,~-

The sudden return to tempo I in forte at the last measure, completes the
 -.
78

..
picture. The trap, and not Heynarq, is victorious. Neither version,

piano solo or voice arrangement, is ea~/~ Some students most cer-

. . . .. -

tainly will have rhythmic difficulties. Hands alone practice might

be ne~essary, with the teacher supplying the other part. The

. . . . .
- . . - ~ . .
phrasing . has been marked .in detaii and care should be taken to have it

played as marked. . The fruits of this folksong tree are many, but the

most important are the interpretati ire elements and the use of the

rubato.

The las~v study in Volume III (No. 96) is a natural "test" piece.

!t is called 11 STUMBLINGS" and not ;Ii thout good reason. In this com-

positi~n Bartok has enthusiastically set about to place various

obstacles along the way to trip the unalert. Two disturbing elements

that are apparent immediately are: the a~etry of phrase blocks

(in 4-6-8-10-6 measi.lres) and the 6/8 meter (instead of 3/4) suggested

by the melodic pattern of two three-note figures . :.to_eaqh measure.

Some of the stumbling stones to be encountered are: the changes in the

melodic pattern of the first phrase (from step to skip, skip to st.ep ),

the use of major and minor in imitation (measures 5 - 10), the four

variations (of the inverted pattern used in the .fi.Tst phrase) of the

same pattern (in measures 11 - 18), and the use of the triad in

broken chord form and the later alternation uith ' diatonic melodic

schemes, - just to mention a few possible disasters. The only simple

elements in the entire piece are the key and meter signctures.
 79

11 STUHBLlliGS 11 is an excellent study for legato, finger articulation,

alternating diatonic and broken chord passages and polyphony between

. hands. The intricacies hidden in this piece could create pani_c :o n

_the part of the performer (and the teacher or audience). A more

assured preparati-on would be had by . the use of "backward" practice

. . .

( takii1g ~he last phrase to the end, the next-to-the-last phrase to

. the end, etc.). In this way 1 . the ending of _a comp'osi tion is as ..

well studied as the beginn:i.I~, and niuch mental staggering can be

avoidede' . 11 STliMBLTIJGS 11 is. primarily devised to make the student

think, and without careful study, it is guaranteed to reduce. even a

. . . . . . . . . - . . .. . . . _. -~

talented and intelligent pupil to the status . of a pianistic

stutterer. For a conclusion piece in a third volume, this compo-

sitlon can be said to be almost fiendishly difficuit .

. '
The student
. . .
. . . .
' . .
who has mastered it without any stubbed notes or bruised phrases

has made steady progress, and should consider himself well on the

rmy to -solid musicianship.

Volume III of the Mikrokosmos stands like a gateway rlhich opens .

on to .two roads, each stretching in opposite direction, yet converging

at some distant point. If the student decides to terminate his piano

study at this point, he has had first hand contact with -the . ways and
means of' making music which will provide him vi th a sound basis f'or the
 80 .

cultured appreciation and understanding of all music, whether classic

. or. c ontemporary. If on the other hand, the student elects to con- .

tinue his study, his thorough training in musicianship permits him to

stand on the threshold of other musical experiences, which are open to

him in the many worthy compositions contained in the last three volumes

of the Mikrokosmos.

.. ~
 81

CONCLUSION
. . . .
. .

In the foregoing chapters it has been shown that the Mfuokosmos

has done much to develop the understanding and appreciation of all

contemporary music. It offers insight into the form and construction

of music. .With its modal variety, it avoids diatoni:e ruts. By use

. .

of bitonal signatures and various surprise elements, it prevents

mental laziness, for the student is forced to be alert. It _develops

a feeling for suppleness of phras.ing and results in a good rhythmic

sense. It i~sistson fluidity of rhythm by the irregular spacing of

. imitations and the overlapping of phrases. Its harmonic style is

. . .

usually firmly but freely around a tonal center although it is stretched

to the limit by its fusion of major, minor, modal,~ pentachordal,

Oriental, and undetermined or .original scales. . Bart~k's aim in an

of his piano works, with the exception of his Etudes, is not the develop-

ment of technique in itself, but his pieces do requirt! a nE:H kind of

. .

technique. The student develops a sense _of dist_a nce by unusual skips

and changes of register, and a proficiency in chords and octaves. _

His ear must be attuned to the bitonal elements to insure .the ac-

curacy _of dissonant chords and unusUal sequence of notes. He needs,

furthermore, a strong sense of rhythm, especially in the use of

syncopation and frequent and sudden changes of time signatures.

 82

A few words on Bart6k as a teacher and person will not be amiss.

His students remember him as a gentle and kindly man. His explana;..

tions were clear .and definiteJ and like all true 't eachers, he had the

gift of impart~""lg knowledge in an effortless and easy 111anner. If he

. . . .

could not . play a composition he had the humilit.y t6 admit it, even to

a much younger student who could play it. He insisted on truth of

interpretation. His first a:i,m was to teach musicianship, and . .

second~, the pi&no.

Bart6k lived the simple life of a scholar, busy, secluded, and

perhaps, monotonous . at tiines. His maey works ei ve testimony to his

. systematic use of every minute of time allotted to him. To his

close .friends, he was warm and sympathetic~ To others who knew him 1

either as a pupil or an acquaintance, he held a strong reserve that

was not easily penetrated. He made no pretense of understanding the .

social amenities of every day life in .which so-called "white lies" .

- . . . . . .

were
.
accepted and. he rejected. them with child;,.like simplicity. .
In .
. . . . . . . .

spite of the many who did not understand his music, he icef,t on writing

be~au~e he felt .a compulsion to ril'ite as he thought. vlhile it is

idle speculation to wonder l-rhat ten more years of life would have
meant to Bartok and the musical world, one may judge from a remark

made shortly before he died: "The trouble is that I have to go with

still so much to $ayn.l

_ ..,.. ______________ .. _______ ;----:------~------:---~-----------------------------

1. Colin }fason, "Bartok", Groves Dictionary (Rev .P. .C .Colles) . (New

York, Mad1il1an, 1947) 1, 464.
'L .
 83
.. . ~

Whether one likes or does not like contenporary music makes no

difference
-
in judging
. .
the values
. -
of the NikrokoSI!'os. It must be. aO:-

mitted that. BartOk realized the necessity of a uork 'Which wOuld cope .

with the specific problems encountered in modern rnus_ic and which

. .
. . .
would pro:ide training in the execution and interpretation of the

modern niasters. Hikrokosmos gives a profound insightnot . only into

Bartbk' s style and method, . b~t also into much contanporary music as

well. 11ore important still, it slowly but surely develops the

child into a musicianly pianist .

.. .
 84

BIBLIOGRAPHY
,
I. ARTICrg) BY BARTOK

"The Influence of Peasant Music on Modern Music, 11 Tempo, 14: 19~24,

Winter, 1949~50.

"Hungarian Peasant Music," Husical Quarterly, 19:3:267-87, Jl.tlY, 1933.

Foreword and notes to Mikrokosm6s, 1940.

"Race Purity in Music," Modern Music, 19:3:153-5, March-April, 1942.

"Bartok Views Folk HuEic inHungary," Musical America, 63:1:27:,
January 10, 1943 .

"Gypsy Husic or Hungarian Music," Musical Quarterly:, 33:2:240-57,

April, 1947.

,
II . BOOKS .ABOUT BAR 'IDK

Haraszti, Emil. B~la Bartok, His Life and Works~ Paris: Lyrebird .
Press, 1938. - - --

Moreux, Serge. . Bela Bartok, ~ vie, ses oeuvres, ~ lang age. Paris:
Richard-Hasse, 1949.

Stevens, Halsey. The Life and Nusic of Bela Bartok. New York: Oxford
University Press, '!9.53.- --
Uhde, Jiirgen. Bartok Hiki-okosmos Spiela:rrueisungen undErlauterungen.
Regensburg: Gustav Bosse Verlag, 1952.

Bela Bartok: A Meno:dal Review. (Articles on his life and his works,
----: reprinted from Tempo, 1949-50). New York: Boosey & Hawkes, . 1950

, .
III. REFERENCES TO BARTOK IN OTHffi BOOKS

Blom, Eric, editor. Grove 1 s Dictionary and Music and Musicians,

5th edition, New York: HacMillan Co., Ltd. "Bela Bartok" by
Colin Mason, PP 463-471. -- -- - ----- - - - ~

Cohen, Harriet. Music's Handmaid. London: Faoer, 1.936; rev. ~ ecr.-1950,

PP 153-163.
Copland, .Aaron. ~ New Husic. New York: vlhittlesey House, 1941.;
PP 66-70.
 -. . 85.

Demuth, Norman. Musical Trends in ~ 20th Cent~. London: Rackliff,

1952, PP 265~76.

E".-1en, David, editor. ~ of Hodern Com.E_osers. Alfred A. Knopf, Inc.,

1942, Chapter XII, 11 Bela Bartok,
.
11 by Hugo Leichtentritt.
. .

------------------- Twentieth-Century C~osers. New York: Thomas Y.

Crowell Co., 1937, pp. 161-9. . .

Gray, Cecil. A Survey: of Contemporary Husic. London: Oxfo:'::'d University

Press, 1924, pp. 19"4-209. .
Salazar, Adolfo. Music In ~ Times. New York: vl . W. Norton & Co., Inc .
1946, pp. 297-304. . .

Szigeti, Joseph . 't-lith Strings Attached. New York: Alfred A. Knopf, Inc~
1947, pp. 33-4, 128-30, etc.

r1. REFERENCES TO BARTOK lli ARTICLES

,_
Ameringer, Sylvia Van. "Teaching with Bartok's 1-'.d.krokosmos'," Tempo,
1

21~ 31-5, Autumn, 1951.

Bull, Storm. "The Piano Husic of Bela Bartok," Repertoire, 14-133-7, .
. January, 1952. .

"Bartok's Teaching P:l.eces," Reoertoire, 1:1-5, October,

1951.
Collins, Adrian. 11 Barto'k; Schoenberg, And Some Songs," Music and

Letters, 10:2: 177-81, April, 1929.

Dille, Denis. "The Life of Bela,_ Bart~k," Tempo, 13: 9:_16, Autumn,
1949.
Englemann, Hans Ulrich. 11 Chromatische Ausstufung :i.n Bela BartOk's
1 Hikrokosmos , " Helos, 20: 133-41, ~ai
1
1 1951.
Gombosi, Otto-. 11 B~la Bartok,. 1881-1945," Husical Quarterly, 32:1:1-11,
_January, 1946

. Haukes, Ralph. "Dela Bartok, A Recollection by his Publisher,"

Tempo, 13: 17-24, Atit~~, 1949.
, ,
Hal.fthorne, Robin. "The Fugal Technique of Bela Bartok," Husic Review,
10: 277-85, November, 1949 .
 86

. I .
Leichtentritt, Hugo. "Bartok and the Hungarian Folksong," Hodern
Music, 10:3: 130-9, Harch-April, 1933.

------"------------ "The Art of B~la Bartok," Modern Music, 6:3:

12-18, Narch-April, 1929.

Mason, Colin. "Bela 3artok 1 s 1Nikrokosmos '," The Music Teacher and
Piano Student, 25~57, February, 1946 --- .

--------""-- Bela BartOk and Fo~'k:song," Music . Review,- 11:4: 292-302, .

11

November, 1950.

11enasce, Jacques de. 11 Tl:le Classicism of Bela Bartok," Modern Music_, .

23:3:16-25, Harch-April, 1946.

Mila, Hassimo. 11 Bela Bartok e il sui 1 Hikrokosinos 1 , 11 Diapason, gen.

. PP 2-6, 1950. . . .

Hoore, Douglas. "Homage to Bartok", Modern Music, _23:1:14-15,

. Hinter, 1946.

Olah, Gustav. 11 Bart6k and the Theatre," Tempo, -14: 4-8, vlinter,
1949-50

. Pleasants, Henry, and Tibor Serly. "Bartok's Historic Contribution,"

Hod~rn Husic, 17:3: 131-7, }larch-April, 1940.
. I .
. Scminsky, Lazare. "Schoenberg and Bartok, Pathbreakers, 11 Modern
Yrusic, ._ 1:1: 27-8, 1924.

Seiber, Hatyas. 11 Bela Eart~k' s Chamber Husic," Tet;Po, 13: 5-8,

Autumn, 1949.

Veress, Sandor. 11 Bluebeard 1 s Castle",Tempo,13:6-8, Autumn, lb-25-35,

\-linter, 1949-50.

vTeissmann, JohnS. 11 Bartok1 s Piano Music," Tempo, 14:8;..19.; \'linter,

1949-50 .
h'olff, HelJ.muth Christian. . "Der . 1 Hikrokosmos' von B~ln Bartok,"
Music a, . 21: 134-140, Harz, 1951 .